The artistic life in Spain during the 1920s is characterized by the absence of its own avant-garde movement. Starting in 1930, the situation changes significantly, as the abolition of dictatorship and monarchy creates a strong demand for engaged graphics, particularly evident in poster production. Many artists who side with the Republic view political art merely as a temporary phenomenon dictated by the circumstances. It was only after Franco's death that the artistic tendencies of those buried years were revisited. However, monographs on individual artists that trace the developments in art and artists of that time are still lacking. The intention of this work is to present this through the work of Helios Gómez. Helios Gómez (1905-1956) is considered one of the most significant political graphic artists in Spain during the 1920s and 1930s. His black-and-white ink graphics were published as picture portfolios and press graphics in Spain and several other countries. While his early works engage with the currents of the avant-garde, later works are dominated by a desire for substantive expression. The research focuses on the entire discovered graphic oeuvre. The study tracks the thematic and artistic development of this work based on his places of exile - Brussels, the Soviet Union, Berlin - and discusses the comments of contemporary art criticism. Other aspects of the investigation include the often-claimed significant influence of Frans Masereel on Helios Gómez, the abrupt cessation of his graphic output, his influence on other artists, and his reception up to the present day.