Historically, the concept of “race” in the United States  has been shaped by ideologies of the dominant white hegemony that extends back to the European colonial period.  In the modern moment, liberal ideologies (notably white neoliberal ideologies) have begun to deconstruct “race” as the primary social category that is ascribed to people. This movement has lead to the term “post racial”-- used most commonly in the media and in its corresponding visual culture-- which is roughly defined as depowering the social status of “race” as a category. The focus of “post-racialism” on the social level is inherently problematic because, according to Michael Omi in his essay “The Changing Meaning of Race”, “merely asserting that race is socially constructed does not get at how specific racial concepts come into existence, what the fundamental determinants of racialization are, and how race articulates with other major axes of stratification and ‘difference,’such as gender and class” (Omi 243).  American visual culture, notably American mass media, has played a major role in the implementation of “post-racial” ideologies in the U.S. Paradoxically, artists in this same visual culture also reveals the troubling undertones of living in a “color blind” world. In order to deconstruct the visual component of this “post-racial” America one has to first, define the term post-racial, second, contextualize the political and visual elements of this term, and finally, put historical racialized images of American visual arts in dialog with the works of contemporary American visual artists. At the core of this deconstruction of post-racial America is an attempt to elucidate the dichotomy between the power images have in implanting oppressive ideologies into the minds of masses, and in resisting those oppressive ideologies.