People use graphic design to study and transform social relationships as well as visual ones. The words and concepts we use to talk about design—in both normative and disruptive terms—also ripple through the critical writing about race and feminism. Design is a tool for diagramming and exposing structures of power. In the 1920s, designers in Europe argued that cubic buildings, sans serif typefaces, photographic images, and functional products could be useful and relevant to people across nationalities and income groups. Such seemingly neutral forms resisted the nationalist and fascist ideologies that pitted groups against each other. Despite modernism’s egalitarian ideals, however, the concept of universal or transnational design solutions presumed a male, Western European subject.