Quick, name one iconic Depression-era portrait each by Dorothea Lange, Walker Evans, and Russell Lee. My guess is that you’d choose Lange’s Migrant Mother, a portrait of Florence Owens Thompson and her children taken in Nipomo, California, in 1936. For Evans, you’d probably pick a 1936 portrait of tight-lipped Allie Mae Burroughs standing before the wall of her family’s cabin in Hale County, Alabama. For Lee, you might draw a blank, but you’d likely recognize his 1937 group portrait Saturday Night in a Saloon, showing four drinkers in Craigville, Minnesota. (It was used in the opening sequence of the TV show Cheers.)

What’s my point? Each of the subjects in each of these pictures, produced by Farm Security Administration photographers, appears to be white. Although the photographers who worked for the FSA took many pictures of people of color—in the streets, in the fields, out of work—the Great Depression’s main victims, as Americans came to visualize them, were white. And this collective portrait has contributed to the misbegotten idea, still current, that the soul of America, the real American type, is rural and white.

In one sense, the lack of diversity in classic FSA photographs comes as little surprise: The country was roughly 90 percent white during the Depression, and the FSA represented Black people in proportion to their share of the population. Yet overall representation is surely only part of the story, given that the FSA was supposed to be chronicling hardship among farmworkers. During the Depression, Black Americans made up more than half of the country’s tenant farmers, sharecroppers, and farmworkers in the South. In 1932, when a quarter of white Americans were unemployed, half of Black Americans were. “In some Northern cities, whites called for African Americans to be fired from any jobs as long as there were whites out of work,” according to the Library of Congress’s website for teachers. And Black sharecroppers were often forced out of work by white ones. “No group was harder hit than African Americans.”

Yet we’ve come to imagine the Great Depression as largely a white tragedy. That isn’t because the FSA photographers focused only on white subjects. If you look at the roughly 175,000 negatives in the complete FSA/Office of War Information file, now at the Library of Congress, you’ll see that the photographers working for the FSA and for its predecessor, the Resettlement Administration, and its successor, the OWI, documented many people of color. Lee photographed poor Black people in Missouri, and Mexican pecan shellers in Texas. Evans photographed Black Americans out of work in Mississippi and Alabama. And Lange photographed Filipino lettuce pickers and Japanese truck farmers in California.

the most direct responsibility for the whitewashing seems to lie with the photographers’ boss, Roy Stryker, who was the chief of the FSA’s historical section from 1935 to 1941, and then of the OWI’s photography unit. Three new books that pursue three very different subjects in very distinctive ways—Walker Evans: Starting From Scratch, by Svetlana Alpers; Russell Lee: A Photographer’s Life and Legacy, by Mary Jane Appel; and Dorothea Lange: Words & Pictures, a Museum of Modern Art exhibition catalog—all offer evidence that FSA photographers often tangled with Stryker over matters of race.