Creative thought leaders and educators have readily invited and challenged humans to harness the imagination as a way to envision otherwise. Ethical teaching and learning processes demand creating equity along a continuum of critical and creative practices (Freire, 1970/2014; hooks, 2009; Love, 2019). Some in the field of art education have taken up such calls and have responded to complex humanitarian issues, specifically anti-Blackness racism, using critical frameworks that demand change in the arts in education (Kraehe & Herman, 2020; Rolling, 2020). Revealing systemic inequities and thereby demanding fresh approaches for understanding the lived experience in and through the arts in education, one such framework, intersectionality, has received fresh attention, partly because of COVID-19 and the resurgence of the #BlackLivesMatter movement. Specifically, Black women art educators (Peoples of the Global Majority) have begun to shift the discourse in the field to document the complexity of lived experiences using intersectional feminist frameworks (Acuff, 2018; Coleman & Wilson, 2020; Wilson, 2020). The authors suggest that change in art education requires reconsidering what aspects count as essential arts tendencies and knowledges, and whom these tendencies may or may not serve.