For more than three years, between 2007 and 2009, Bostonbased photographer Claire Beckett documented army personnel and civilian workers who were readying American soldiers for deployment in Iraq and Afghanistan. With security clearance to access various military sites across the United States, most notably the National Training Center in Fort Irwin, California, Beckett has been privy to the simulation techniques and role-play exercises used to prepare troops for these foreign theaters of operation. The large-format color photographs in the series Simulating Iraq capture the artificial scenarios, fabricated personas, and imitation landscapes used by the military to transform the unfamiliar cultures, peoples, and locations of the Middle East into a representational range both knowable and coercible. Beckett’s photographs critically communicate a canny elision among visual imaging systems, the field of perception, and the logic of military operations. The staging of a war, her project suggests, is intertwined with a multitude of techniques that play a formative role in constituting the self. Indeed, animating this battlefield of power relations is the construction and diffusion of representations of identity, a terrain of signifiers that may be marshaled to craft distinct differences between “us” and “them” but which inexorably escape any singular identification or localization. Beckett’s portraits of individuals and groups offer some of the strongest instances of the military’s engineering of otherness. Based on descriptions provided by intelligence services, the portraits include fair-skinned, blue-eyed Marine Lance Corporal Nicole Camala Veen, who by loosely donning a white hijab (head covering) and blue abaya (outer garment) is transformed into an Iraqi nurse in the questionably dubbed town of Wadi al-Sahara (2008), and Army Specialist Gary McCorkle, who is swathed from head to toe in white head scarf and