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Nkiru Nzegwu is Chair of the Board of SUNY Distinguished Academy and the founder of Africa Knowledge Project and author of Family Matters: Feminist Concepts in African Philosophy of Culture (2006), co-editor of The New African Diaspora (2009); and editor of Onitsha at the Millennium: Legacy, History and Transformation and His Majesty Nnaemeka Alfred Ugochukwu Achebe: A Ten-Year Milestone (2013). She has published extensively on African aesthetics, art, feminism, and philosophy. Àṣẹ aesthetics appears when the hegemonic veil of Western ideology is pulled aside. The revealed aesthetics manifests in a polychronal spatiality that is anomalous and constant, where past and future are inscribed in the present. “Infinitely generative,” artforms are concretized àṣẹ and come alive when activated. So, what is ‘àṣẹ’? What does “àṣẹ aesthetics” state about artforms and the relationship of art, human creativity, and reality? My talk examines these fascinating questions as I define the features of this aesthetics. I conclude with an aesthetic evaluation of the iconic George Floyd Mural in Minneapolis and the BLM Routine of the Diversity Dance Group of Britain.