The second act of Ishigo’s life reads like a corrective to historical erasure. In the late 1980s and early 1990s, filmmaker Steven Okazaki and his collaborators unearthed Ishigo’s personal papers and art and discovered the artist herself living in near destitution. Okazaki turned that discovery into Days of Waiting (1991), a short documentary that used Ishigo’s own drawings and writings to contextualize the wartime shame of American policy and the personal cost of loyalty. The film struck a nerve: presented on PBS’s POV and by the Center for Asian American Media, it won an Academy Award for Best Documentary (Short Subject) and a Peabody Award, resurrecting Ishigo’s oeuvre and forcing renewed public reckoning with internment—yet it also underlined the tragic reality that the woman who bore witness to one of the country’s great civil liberties failures died forgotten by the mainstream until filmmakers intervened.
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