Isis Upon the Iron Tree: The Stockholm Exhibition of 1930 has been widely recognised as one of the most important expose of modernism in the 20th century. This paper examines Sigurd Lewerentz "Poster no.2" designed under direct commision by the exhibition commitee but was reject for official purposes. The poster which is composed as a complex catalouge of exhibtion elements arranged around the Exhinbtions famous "L" logo, derived from an egyptian winged god, showed nuanced layering of the relationship between an emerging Swedish modernism. Unlike the official Poster No.1 which was reduced to the simple text "1930" a statement on the notion of the moment of change set in Lewerentz futuristic type font Poster no.2 presents mutliple view points from which to consider the arrival of Swedish Modernism. In order to analysise the poster a study of the pictorial content of the modernist manifesto "Acceptera" was undertaken from which themes are cross refferenced and super imposed back into the composition of Poster No.2.