As infographics are implicated in racist policies like redlining, we need to decolonize the genre. But previous studies have found that infographics’ panopticism—their at-a-glance reduction of complex issues—makes them tend to support hegemonic power structures in spite of their designers’ intentions. A way out of this dilemma can be located in the first attempt to decolonize the infographic: W.E.B. Du Bois's series depicting Black life in the United States, created for the 1900 Paris Exposition. This topological analysis of Du Bois's decolonial project reveals both problematic and promising avenues for our own attempts to decolonize the infographic.

This article engages disciplinary (and interdisciplinary) conversations at the intersections of race, rhetoric, technology, and technical communication and offers a case study of curriculum development that supports disciplinary inquiry at these complex interstices. Specifically, informed by a decolonial framework, this article discusses the status of cultural and critical race studies in technical communication scholarship; tentative definitions of race, rhetoric, and technology; the cultural usability research conducted and located accountability in the process of designing a graduate course that studies rhetorics of race and technology; and the implications of this inquiry for the discipline, field, and practices of technical communication.