A (dis)Assemblage of the Gallery-Growlery exhibition and writing presents itself as a site of a morphological exploration of language, sound, and objects in tandem with the irreducibly venting black expression. Venting, the black expression never seeks wholeness within objects or language itself for it is a thing-in-itself. Its presence affords critical reception to a residue of delimiting forms. All growls eschew verbal objects for the manifestation of pure phonetics. A growl in a gallery is the growl. The growl resounds through the physicality of the objects and gallery. Also, it unwinds the object-among-objects as the phono-present stretches the discursive and existential limits of the Fanonian phenomenon. Hence, the contention and conjunction between physicality and acoustics—the visual and sonic—is the gallery-growlery.

The present dissertation is a case study in applied phenomenology, specifically the postcolonial phenomenology of racism theorized by Lewis Gordon and applied to scholarly studies conducted on African American Jews and their kinfolk. My thesis is the following: Presumptively ontological human natures cannot function axiomatically for humanistic research on African American Jews. A humanistic science of Africana Jews must foreground the lived social worlds that permit such Jews to appear as ordinary expressions of humanity. The basic premise here is that subaltern (or denied) humanity exists in a neocolonial social world by virtue of an ordinariness that supervenes on humanity. For example, the more historians consider Africana Jews as ordinary, the more Africana Jews' humanity will appear. And the more human Africana Jews appear, the more inhuman their extraordinary appearance appears. This symbiosis constitutes a basic existential condition. When research on Africana Jews ignores this condition, it succumbs to ontological Jewishnness and other concepts rooted in what postcolonial theorist Frantz Fanon calls the "colonial natural attitude. / Religion