Known for his trademark silhouettes and stylized landscapes, Roger Brown is often associated with the Chicano Imagists, a loosely related group of artists who rejected the exclusivity of the New York art world and instead drew inspiration from self-taught artists, advertisements, and comics to create an accessible visual language. Brown’s ominous cityscapes glow with an aura of foreboding. In his series of imagined disasters, natural forces wreak havoc on urban skyscrapers. Far from their iconic status as monuments to civilization and technological prowess, Brown’s towers are revealed to be tenuous protectors. In World’s Tallest Disaster, the fire engulfs the skyscraper’s upper floors. The silhouettes of people trapped inside are visible through illuminated windows, gesticulating wildly, frantic and full of panic. Seemingly segregated, each individual appears alone in their terror. Just a few floors below, the figures are calm and blissfully unaware of the desperate horror above, showing the disparate experiences and isolation of the city in microcosm.