Also....

One can decide to use a single scale through an entire IIm7b5 V7b9 Im progression if one wants to.
The usual suspects for that would be the nat min or harm min scale built on the tonic of the key. i.e the root of the Im chord.

But that can get boring quickly.
The use of harm min through the IIm7b5 chord will involve a maj 13th which can be a little bit spicy sometimes.
E.g. On Dm7b5, in C minor, the C harm min scale has a B nat in it.
When you hear the B nat emphasized on the Dm7b5 chord it sounds like you've already arrived at G7 because of the tritone it creates with the chord's F.
It's not exactly an 'avoid note', but it's often treated as if it is.
And the use of the maj7 on Im can be a bit jarring too.
E.g. In the key of Cm, the B nat is usually used as a leading tone to the tonic or to the Im chord.
It's a bit anticlimactic if you're already on Im and can be confusing to the listener.

My default strategy is:
IIm7b5 - Locrian
V7b9 - Mixb2b6(add#2)
Im - Aeolian, Dorian or Jazz Minor (Harm min on a rainy day, maybe.)
Dm7b5 - D Locrian (aka C nat min)
G7b9 - G Mixb2b6(add#2) (aka C nat min with B nat added to it.)
Cm - Some sort of a "C minor scale".

Other strategies are:
IIm7b5 - Locrian #2 (Some call it Loc. nat 2.)
V7alt - Altered
Im6 - Mel Min
This strategy involves 3 consecutive jazz minor scales.
In C minor:
F mel min on Dm7b5
Ab mel min on G7alt.
C mel min on Cm6.

And there's lots of other ways to colour this progression too.
That's why jazz guys enjoy playing it so much.