b'scene as vivid in my mind of looking out of my window and seeing jackrabbits in the moonlight. These were images out of the night, out of the dark. 88While this work refers to physical aspects of Makuuchis incarceration, the subject is really the fear and powerlessness of a child trapped in a seemingly hostile environ-ment that he does not understand. The title indicates the code of silence, indirect communication, and lack of clear information about what was really happen-ing at Minidoka. Rumors were rife within camp: one was that a family in camp possessed a shortwave radio, a story that resulted in camp residents confronting the alleged perpetrators despite their innocence. 89Makuuchis use of the rabbit as a symbolic stand-in for his childhood self is also very intentionaljackrabbits were considered a nuisance by the local farmers, and yearly hunts were staged to eradicate them. 90Makuuchis related poem, J. Rabbit Run, refers to the need for the japrabbit to keep running or theyll / relocate you . . . (again), drawing a clear parallel between this prey and the incarcerated Japanese and Japanese American citizens at Minidoka. While the poem and the print are clearly related, they communicate different sides of the same complex story. The most resonant features of the incarceration experience for former residents were the guard towers, the barbed wire, and the lack of privacy. Key to all of these remembered archetypes was the absence of freedom; the freedom to go where one wished and to make daily decisions about life and how it was to be lived. Hardedge drawings ala Dad via + (fig. 38) contrasts the neat line of the camp structures and the telephone poles with a line of flying birds, in the upper right. This sense of freedom lost and the yearning for release suffuses the camp prints, many of which focus on the confining nature of the physical structures. Similarly, Neo Camp ala Ron Brown (fig. 39), focuses on the monotonous, dead-ening sameness of camp life. A bright sun and crescent moon shine over a line of six barracks buildings. Minidoka was noted for its harsh weather conditionshot in the summer and bitter in the winter, with powerful winds in all seasons. Makuuchi captures these qualities with long, deep lines, as the sun beats down and dense networks of muted soft strokes evokes the wind moving diagonally across the scene. Words, mostly illegible, are inscribed in front of the barracks, including POW MIA CAMP in the upper left. A columnar form stands at lower right: Makuuchi proposed a relocation monument in stone. It is in the shape of that yellow manila cardboard with a big hole punched in the top (that hung around our necks with numbers) to be aligned with the setting sun to the west and the rising sun to the East. 91As Floyd Cheung mentions in his contribution to this volume, for Makuuchi to refer to himself as a Prisoner of War was a radical act. 92To further link his incarceration with being Missing in Action FIGURE \x0b\x07 Listening for Pillow Talk of Escape CHECKLIST #33 compounds the audacity. Makuuchis artistic contemporary, Roger Shimomura, 63'