In contrast to the often-rural subject of Regionalism, this panel from the America Today mural depicts scenes of city life, arranged in a series of collage-like vignettes. Arranged in pairs, Benton suggests thematic and visual comparisons in the three main sections of the panel. In the upper left, burlesque dancers cavort onstage, above a man playing a violin, while in the lower left, a couple passionately embrace. On the upper right, two boxers flail in a ring, watched by an enthusiastic group of men, while in the lower right, we see subway commuters calmly depicted. In the center, a religious revival takes place, as a woman in a pink dress kneels in front of a sign that reads "God is Love," juxtaposed with a couple dancing to live music. Painted in bold colors and rhythmic lines, the scenes bleed into one another, suggesting the flow of city life from one activity to another, while the realistic details convey the diversity of the urban environment. The Art Deco-inspired aluminum molding interrupts and brackets some of the scenes, while also directing the visual rhythm. The overall effect is, as Benton described it, an expression of "the language of the street."
The New School for Social Research commissioned the work for its boardroom, and, though he received no fee for his work, Benton rightly felt the project could make his career. As a whole, the mural established the concept of Regionalism, as Benton depicted the nation as a diverse gathering of regions, with eight of its ten panels focused on particular areas, including the Midwest, the West, and the South. Drawing upon sketches from his travels throughout the country in the 1920s, Benton included a wide range of American experience, geography, and history. Spanning from city to country, including both agricultural and industrial labor, Benton also included lowbrow elements of American culture, leisure activities and even bawdy scenes. He claimed that "every detail of every picture is a thing I myself have seen and known. Every head is a real person drawn from life." Painted in the early years of the Great Depression, Benton creates a heroic depiction of labor, with many of his workers recalling the muscular figures of Michelangelo's Sistine Chapel. This idealization of work is complemented by celebratory depictions of modern technology, suggesting that the combination of man and machine will lead to progress and prosperity.
The mural was completed on a series of canvases, which has allowed for the sale and relocation of the series. In 1982, the New School sold the murals to the French multinational AXA corporation, who oversaw an extensive restoration project before reinstalling them in its lobby. In 2012, the paintings were donated to the Metropolitan Museum of Art, where they have been installed in a configuration modeled after their original location.