At the heart of the 1979 Iranian revolution lay a central dilemma: how to adopt new technologies, often developed in Europe and the United States, without succumbing to the social and cultural dynamics that accompanied them. The roots of this dilemma lay in the decades after the Second World War when intellectuals such as Jalal Al-e Ahmad voiced discontent with the pace and shape of the modernization efforts of the Pahlavi state. Historians have pointed to the role of economic polarization, the shifting social practices of women, and the ubiquity of ideas of constitutionalism and democracy in the formation of revolutionary discontent. Yet neglected thus far are the discourses and practices surrounding the increased presence of modern technology in Iranian society. Developments such as the mechanization of the countryside and the introduction of technologies like radio, film, and the automobile were intrinsic to the social dislocations that helped bring about the necessary conditions for revolutionary unrest. Left unexplored are how would-be revolutionaries proposed to accommodate Iran to such technological developments. This paper explores the public articulations of the above dilemma in the revolutionary and wartime periods of the early Islamic Republic, 1979-1988, as well as the potential solutions offered. To do so it employs an underutilized primary source, the political posters issued during the 1980s by organs of the Islamic Republic and those parties closely identified with it. These posters serve as a lens to explore ideas of how Iranian society should or should not embrace modern technology, an understudied yet central component of the asserted modernity and imagined future of the Islamic Republic. Depictions of military equipment, factories, and consumer goods articulated a vision of society that saw Iranians living and thriving in the modern world by laying aside some technologies and embracing others. These posters thus demonstrate the ways in which government officials and revolutionary supporters sought to steer society away from what was seen as Western and toward something understood as being both modern and authentically Iranian. This paper thus engages broader questions related to Iranian modernity. Namely, how did Iranians in the early Islamic Republic distinguish between modernization and westernization as transformative processes and what was the relationship between these two dynamics and assertions of modernity? This paper therefore identifies and analyzes ways that political art in the early Islamic Republic simultaneously reflected an accommodation with and opposition to distinct visions of modernity in Iranian society.