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How do we think aesthetically with the gendered and fleshly life of blackness, which cannot be represented within modernity’s aesthetic regime, yet is everywhere “bound to appear”? How do we begin to approach the splayed corpus of blackness without recourse to a conceptual grammar for and from which blackness is the ultimate declension? These questions compel us to rethink the relationship between blackness and the aesthetic, and to consider the metaphysical violence which is given in and through a racial regime of aesthetics that is indispensable to the reproduction of the modern world. Emphasizing the ways this aesthetic regime, and the antiblack metaphysics it endeavors to sustain, are predicated upon and imperiled by blackness, I argue that blackness is a problem of and for “the body.” This paper enters this problem through the quotidian operations of the visual and proceeds to interrogate the elliptical deconstruction of the body in the work of Jean-Luc Nancy, stressing the commonalities between Nancy’s philosophical gesture and the guiding tendencies of the recent “bodily turn” within the theoretical humanities. Reading Nancy and the bodily turn through Denise Ferreira da Silva and Calvin Warren’s critiques of the modern human subject and its genesis, I argue that philosophical and aesthetic inquiries which begin with the departure from the ontology of the proper body risk reinscribing that very same figuration by eliding the ontologically negated improper body, which bears the racial and gendered violence of the former’s displacements. Turning to Hortense Spillers, I contend that to speak of the impropriety of black enfleshment is to approach the limits of phenomenology, for which, I maintain, the “black body” can only appear as a dissimulation. Taking seriously Warren’s question — “How does one think with the improper?” — I engage in a strategic corruption of Jacques Rancière’s concept of “aisthesis.” I propose a theory of black aesthesis as that which emerges in the cut between the violent dissimulation of the “black body” and a black enfleshment that has always been both more and less than the phenomenological body.