The family picture is organized around three focal planes. This is a family of professionals, lifestyle models skilled in the art of producing the appearance of sleep. Each model is calibrating their performance to correspond to their specific position as it relates to the three planes of focus. To feign the visible conditions of sleep for hours, remaining motionless, with eyes closed, while a team of technicians calibrate lighting, adjust camera settings, maintain hair and makeup, and arrange set and wardrobe details for continuity and blocking, requires a great deal of discipline. In this “production play”, in this Cold War drama, the cloak of labor provides cover for dreaming. The son, Model No. 2745, is positioned 105.5 cm away from the lens, and, unlike the mother and father,2 is in sharp focus. Although he is a model, producing an image of sleep for the camera, and although his sleepwear has been pressed and prepared for this production, his garment appears to be several sizes larger than necessary. While this is readily apparent to anyone looking at the photograph, what is not so obvious is a detail that becomes clear upon the examination of the garment label: HANOI TOCONTAP VIETNAM 48. The sleepwear was rented from Adlershofer Fundus Kostüm- & Requisitenverleih in Berlin, a prop house specializing in props and costumes for period film and theater productions set in former East Germany. But what about the mother and father? To focus is to assert a preference for one surface over another. What value or significance is assigned to this focus and why is it privileged? What are the ideological implications of depth of field? What does the son’s isolation mean? To speak of one thing, it is necessary to remain silent in regard to another. A model is a representation of a system.