In Souls of Black Folk, W. E. B. Du Bois describes. Double-consciousness as sense of always looking at one's self eyes of others (8), and thereby situates a visual model of subjectivity at center of what he calls the strange meaning of being black in United States at turn of century (3). For Du Bois, African subject position is a psychological space mediated by a supremacist gaze (hooks, Glory 50), and therefore divided by contending images of blackness--those images produced by a racist white culture, and those images maintained by African individuals, within African communities. It is negotiation of these violently disparate images of blackness that produces twoness of Du Bois's double-consciousness, psychological burden of attempting to propitiate souls, two thoughts, two unreconciled strivings; two warring ideals (Souls 8-9). Recognizing visual paradigms that inform Du Bois's conception of double-consciousness can help us to understand a remarkable collection of photographs Du Bois assembled for American exhibit at Paris Exposition of 1900. [1] These largely unknown images appear at first enigmatic, but when read against turn-of-the-century race archives they originally engaged, we can see how photographs emblematize complicated visual dynamics of double-consciousness. I argue that Du Bois's American photographs disrupt images of African Americans produced through eyes of others by simultaneously reproducing and supplanting these images with a different vision of American Negro. Specifically, I argue that Du Bois's photographs challenge discourses and images that produced an imagined negro criminality and propelled crime of lynching in turn-of-the-century U.S. culture. With this analysis I aim ultimately not only to restore a key text to antiracist visual archive s, but also to underscore importance of W. E. B. Du Bois as a visual theorist of race. Du Bois's American photographs include 363 images of African Americans made by unidentified photographers. Du Bois organized photographs into four volumes, and presented them in three separate albums, entitled Types of Negroes, Georgia, U.S.A. (Volumes I-III) and Negro Life in Georgia, U.S.A. (Volume I). [2] albums comprised one of three displays Du Bois supervised for Negro exhibit, including a series of charts and graphs documenting social and economic progress of African Americans since Civil War, and a three-volume set containing complete legal history of African Americans in Georgia. [3] These displays joined other exhibits celebrating work in African education and African literary production, which together were organized under direction of Thomas J. Calloway for Exposition (Du Bois, Pairs). Negro exhibit was housed in Palace of Social Economy, and it won a 1900 Paris Exposition grand prize. [4] photograph albums that Du Bois assembled for Negro exhibit contain a variety of images, but by far most numerous and notable are hundreds of paired portraits that almost entirely fill volumes one and two of albums. In examining these portraits, I would like to suggest that Du Bois was not simply offering images of African Americans up for perusal, but was critically engaging viewers in visual and psychological dynamics of race at turn of century. That very year Du Bois would declare, The problem of Twentieth Century is problem of color-line, [5] and with his American photographs for 1900 Paris Exposition, Du Bois asked viewers to consider their places in relation to that color line. Du Bois's American portraits are disturbing, even shocking, in way they mirror turn-of-the-century criminal mugshots. …