This dissertation presents a study of the entanglement of the catastrophic earthquake that struck the southern, coastal city of Agadir, Morocco on February 29, 1960 and modernist art and architectural production in Morocco. At the heart of this line of inquiry is the question of how have histories of decolonization and aesthetics been provoked and accelerated by non-anthropocentric agents? I posit that an ecological event, namely the 1960 Agadir earthquake, gave rise to yet also haunted decolonial projects, nation-building efforts, and modernist (re)formations in Morocco. The first chapter presents a history from below that centers the trauma and haunting left in the wake of the earthquake while placing blame for the disaster not on “nature” but on the tangible legacy of violent and neglectful French colonial urbanism in Agadir that was perpetuated by the Moroccan government after independence. The tandem second chapter offers a deep analysis and a critique of the top-down planning, urbanism, and architecture by the local and international teams of experts (including Mourad Ben Embarek, Abdeslam Faraoui, Patrice de Mazières, Elie Azagury, Jean-François Zevaco, Pierre Mas, Henri Tastemain, and Louis Riou) put in charge to manage the reconstruction that ended up having disastrous consequences for the earthquake survivors. By the end of the 1960s, two architects who began their careers working on the Agadir reconstruction, Abdeslam Faraoui and Patrice de Mazières, teamed up with artists Farid Belkahia, Mohammed Melehi, and Mohamed Chebâa of the Casablanca École des Beaux-Arts (School of Fine Arts) to create multidisciplinary integrated spaces in the form of hotels commissioned by the Moroccan Ministry of Tourism that I argue in the third chapter are aesthetic aftershocks of earthquake. Rather than taking the earthquake as a mere starting point that fades into the background of the reconstruction that features one of the most significant ensembles of modernist architecture and urban planning in Morocco following official independence, I foreground the earthquake and lingers in its wake. Doing so enables radically new ecocritical readings of the architecture, urban design, paintings, sculptures, literature, and multidisciplinary integrated spaces that are featured in the book while also offering fresh insights into questions of politics, race, class, and gender in North Africa during the 1960s and 70s.