While the Canadian government actively worked to disenfranchise and exclude non-Caucasian immigrants and the Indigenous people of this land, Hoy was creating a record that in many ways pushed back against these racist constructs. Perhaps that is nowhere better seen than in the many images of people who had created families and friendships across cultures, including the portrait that Hoy had taken of himself and the young Josephine Alexander, a Tsilhqot’in woman who worked for him and sat for him at least fifteen times. The ease and joy they take in each other’s existence in the image is palpable.