Cindy sherman disguised himself as a clown.

After the untitled film stills series, Sherman produced a series of central illustrations at the invitation of American Art Forum magazine. The female images in this series are still self-performing and self-shooting. These female images are more aroused and touched by their inner desires than those in the untitled film stills series. Their eyes and posture are more explicit than those of women in the untitled film stills series. They are empty and melancholy, eager to fall, and seem to be waiting for something or planning something with a horrible and expectant mood. This is a more uneasy, self-confident, self-destructive and confused image.

After finishing these two series, she seems to have no interest in playing this role by herself. In the series "Disaster" made between 1986- 1989, Sherman went against her usual practice and let creepy monsters appear with her. In these works, garbage, dolls and people are crowded together, and the whole picture is messy. People are squeezed out and oppressed for no reason, violence and chaos are rampant, and pictures are full. At this point, there is no fundamental difference between people and those filth. People have long been unrecognizable and are gradually disintegrating. Sherman's works have received unimaginable popularity. 1987, Whitney Museum of Art eagerly held a personal retrospective exhibition for her. Generally, those who "look back" are older and successful artists, but she is only 33 years old, so she is "looked back" and "recycled" by the art system. New york Museum of Modern Art bought her untitled film stills series for $6,543,800. From 65438 to 0999, she was named as one of the "25 most influential artists in the 20th century" by Art News magazine of the United States, and won the same honor as artists such as Duchamp, Warhol and Rauschenberg.