The “resistant objecthood” that grounds the performances in Lawson’s and Pfeiffer’s images unearths a deeper white anxiety at blackness’ lack of restraint, and its intemperate hostility to discipline. Lawson’s and Pfeiffer’s aesthetics interrogate the normative value of visibility and proffer a politics of visuality in which blackness at once appears and retreats. In their work, raced subjects cultivate a visuality of fugitive evasion, or, to borrow from Anne Anlin Cheng, they manifest “a disappearance into appearance.” Their images model spectacular opacity as a black visual practice that recedes into view.