In iBetween Shadows and Noisei Amber Jamilla Musser theorizes sensation as a Black feminist method for aesthetic interpretation and criticism that uses the knowledges held by the body to access the unrepresentable. Thinking through blackness, empire, and colonialism, Musser examines art works ranging from Ming Smith's iFlamingo Fandagoi, Jordan Peele's iUsi, and Katherine Dunham's iShangoi to Samita Sinha's iThis Ember Statei, Titus Kaphar's iA Pillow for Fragile Fictionsi, and Teresita Fernandez's iPuerto Rico Burned 6i. She engages with these works from an embodied situatedness to grapple with the questions and sensations of racialization and difference that these works produce. Throughout, Musser rethinks how we consider the relationship between race, representation, and politics by dwelling in those spaces and concepts that elude Western norms of representation, objectivity, and logic. In so doing, she explores ways of being and knowing that exceed overdetermined parameters while o