Maxine Greene's unique approach to education is primarily exciting because before she ever engages with teaching, or learning, or a school, or classroom, she engages with human beings who live in a society and who partake of its senses--the good, the bad, the beautiful, and the ugly. Before she engages in the mechanisms of education, she begins with how teachers and students feel; how, as existing beings they confront their life and make sense of it. Schools that will not give us the opportunity to engage with our sense of self would be nothing more than a factory where learning is computational and programmatic. Education without a sense of aesthetics is like a painting that we all know about but we could never see or experience. It is here that Maxine urges us to start painting murals once more, and to extend our dialogue and situatedness "far beyond the agencies and offices and even classrooms" (Greene ND, 13). While the author, John Baldacchino, does share his experience with those who cherish the image and memory of Maxine Greene, the optimist who believed in possibilities and who shared with everyone a sense of continuous hope, he also bears in mind and reminds others that Greene's work never presents an assured form of positing the world with unfounded hope or with an obsession of happiness at all costs--which so often characterizes the wholesale alienation of so many individuals with the deluded promises which, more often than not, distort the realities of contemporary society.