In this essay, I examine Diagne’s claim that the fundamental intuition of Léopold Sédar Senghor’s thought is this: African art is philosophy. Diagne argues that it is from an experience of African art and an encounter with Bergson’s philosophy that Senghor comes to formulate his philosophical thought, which is better understood as vitalist rather than essentialist. I conclude by arguing that Senghor’s vitalism is a philosophy of becoming which nevertheless lacks an account of radical political change.