After years of being a Canadian National Historic Site and immigration museum, Pier 21 became the Canadian National Museum of Immigration in 2011. Located in Halifax, Nova Scotia, Pier 21 saw over a million immigrants pass through between 1928 ad 1971; the goal was to make the museum located at Pier 21 much like Ellis Island in the US: a symbol of immigration history, simulation of immigration processes, and containment of immigration narratives and artifacts. Dolmage argues against this current representation of immigration at Pier 21; the representation offered is nothing more than an ideal on how the Canadian immigration narrative should function – something easy, efficient and affirming. The current museum eludes the messier and more sinister histories it generated, such as lack of process and protocol and deportation based on eugenic ideologies. In order to reconstruct Pier 21 as a truly “diverse space” Dolmage discusses the conflicting and contested histories of Pier 21, employing shadow archives. Shadow archives can be explained as what we do not see when we look at an image; they are the surrounding pieces containing hidden archives: interdependent archives of the accepted image, normally obscured. The media campaigns led by immigration authorities attempted to hide negative responses in the early 20^th century. Such propaganda endures in the limited and limiting testament to the Canadian immigrant experience currently represented by the Canadian National Museum of Immigration at Pier 21.