Elena Creef analyzes the wartime photography of Ansel Adams, Dorothea Lange and Toyo Miyatake to explore the discourses surrounding representations of Japanese Americans.  Both Creef and Wendy Kozol delve into the strategies by which images of the “model minority” were fashioned that stripped subjects of their specificity in an attempt to construct a sense of sameness and familiarity between “real” Americans and these racially suspect subjects.  This strategy coincided with the decline of scientific racism and the rise of “color-blindness,” forging an illusion of sameness across a multiplicity of racialized bodies under the notion that nation trumps ethnicity.  Thus the contradictory aims of Order 9066 to both alienate and assimilate Japanese-Americans was reconciled by photographic projects that momentarily separated out for scrutiny these subjects, only to reincorporate them and hide the evidence later.