While Geller never made statements of his political views, we can infer from his affiliations and activities that he was a social progressive. In 1940, he contributed to the calendar of the Union of American Artists of Chicago whose organizer was the radical artist Morris Topchevsky, who writes in the introduction: “The calendar makes it possible for the average worker from the office, shop or factory to procure works of art at a very low price. Our artists in this calendar come to the public as workers, and as members of a labor organization interested in the life and problems of the people.” Geller’s work from the late 30s and early 40s demonstrate a growing consciousness of the city’s heavy industry and a sympathy towards its working class.