After moving to Albuquerque from Los Angeles in the late 1980s, Patrick Nagatani became increasingly concerned with New Mexico’s role in the development of nuclear weapons and its contemporary ramifications. In his Nuclear Enchantment series, he used a highly saturated color palette and imagery borrowed from Native American and East Asian mythologies to construct scenes emphasizing the absurdity of living in the age of nuclear proliferation. In this work, Nagatani superimposed images of a Koshare clown figure onto the White Sands Missile Range, creating a scene where the figures appear to dance, oblivious to the weaponry behind them.