Painted for the second edition of RSH Street Art Festival (organised by the Saudi Ministry of Culture's Visual Arts Commission and co-curated by Basmah Felemban and Cedar Lewisohn), which transformed an abandoned building in Riyadh's Al-Mughrizat District, vacant for fifteen years, into a site for international and regional mural practice.

The mural is structured as a 3×2 grid of comic-style panels, consisting of six scenes reading like frames of a film strip, each a fragment of a larger sequence. The visual language is deliberately legible at first glance and unstable on closer inspection: flat black figures against blue and white grounds, neon outlines marking the panel borders, diagonal marks cutting across bodies mid-action. The figures are helmeted, armed, and grouped, presenting authority as silhouette and violence abstracted to the point of ambiguity. Hidden symbols and iconographic cues layer beneath the graphic surface, visible only to a viewer who stays.

The title is onomatopoeia. What Big, Bang, and Boom describe (an explosion, a collision, a confrontation) is never named. The panels suggest sequence without resolution. Censorship here operates as the work's formal principle: what is shown is a diagram of what cannot be said directly, painted on the exterior wall of a building the state abandoned and then reclaimed as a canvas.