Abstract

Paul Taylor’s essay ‘Black Reconstruction in Aesthetics,’ explores the questions of what reconstruction in aesthetics means. He asks how reconstruction, as a program for the post-bellum Southern United States, took up certain kinds of racially inclusive agendas even as it remained myopic to fundamental, seemingly insurmountable racial, racist, sentiments. I turn to his book to illuminate some of the myopias and seemingly intractable racisms that he seems to refer to in the essay, and then return to his essay, where he answers some of those questions. I argue that he is correct in his analysis. I turn to several critics’ responses of the film Moonlight, which received rave reviews, to illustrate the point that there are similar sentiments in other current seemingly progressive contexts.