This enigmatic painting, one of seven in Demuth's final major series, depicts a concrete and steel grain elevator in Lancaster, Pennsylvania. The massive structure looms over the smaller, red buildings nearby - perhaps barns or family homes - almost shoving them out to the sides and corners of the canvas. Several intersecting beams of light illuminate the grain elevator like an actor on stage, reiterating its importance while adding a geometric fracturing reminiscent of Cubism to the composition.

The painting has been interpreted as both a critique of modernization and a celebration of it. The title suggests that industrialization is a pinnacle of American achievement equivalent to the great monuments of the ancient world, evoking the pyramids of Egypt and their symbolic association with life after death, which may have been a compelling idea to Demuth, who was bedridden by illness at numerous points throughout his life. At the same time, the painting may also allude to the slave labor that built the great monuments to the pharaohs. Thus serving as a critique of the dehumanizing effect of industry on American workers.

This work is one of Demuth’s most famous paintings and is understood to be a psychological self-portrait of the artist.