A response to 9/11 and its aftermath, Roger Shimomura’s Not Pearl Harbor also references the artist’s biography. As a child, Shimomura was one of approximately 120,000 Americans of Japanese ancestry that were wrongfully interned in concentration camps by the United States in the wake of the 1941 attack on Pearl Harbor. The artist brings his signature “Pop” style—influenced by illustration techniques and cartoons—to images he borrows from the media, making the difficult scenes immediately legible, like a sequence in a comic book. These depictions are divided among multiple panels, recalling the format of traditional Asian screen painting, with those related to 9/11 on the left and those related to Pearl Harbor on the right. Shimomura calls attention to the severe threat posed to basic civil liberties and constitutional rights of American citizens due to their heritage and/or religious practices at times of national crisis. Although the chilling images are associated with now past experiences on U.S. soil, in Japan, and in the Middle East, the painting raises concerns similar to those elicited by some campaign rhetoric of the 2016 presidential primaries. In the artist’s words, his work asks the still topical question: “Just how far have we come in exercising good judgment where racial profiling and religious tolerance are concerned?”