In 1965, four artists bought seven acres in southeastern Colorado, intending to make live-in works of art. Their communal project came to be known as Drop City, where residents lived in zonohedron domes of their own creation, sometimes constructed of automobile roofs and other scavenged materials. One dome, made of a fluorescent-painted lattice filled in with Mylar panels, made the trip east in 1968 to the Brooklyn Museum, filled with a five-foot-wide, round, spinning, “collaborative” work of art — “The Ultimate Painting” — that changed composition when illuminated by strobe lights.