A caganer is a defecateur sans commode. he or she is a popular participant in nativity scenes in countries on the west end of the Mediterranean. If one were placed in a public American crèche, you can imagine the terrible-swift ironic rejection by those who plea for such public real estate via invocation of freedom of expression rights.
That said, we move on the homage of “Metropolis” (1927). The set for this drawing is the lobby of the workers’ elevator that goes to and from the Heart/Moloch machine and the costumes here are like those in the film as well. The slogan over the doors, in German as were the film’s original inter-titles, is translated as, “mediator between head and hands must the heart be.” More irony.
“Love” and “Respect,” are our society’s myth-idols. Here they are,as usual, a body without clothes—more vulnerable than innocent, and clothes without body—a soul-less uniform. They are symbols of our society’s version of the heart/Moloch machine in “Metropolis” aka Moloch. Just as Ginsberg howled, “Moloch whose love is endless oil and stone! Moloch whose soul is electricity and banks!” They they are consumer/processors worshiped more with Händen than Hirn. Or Herz.