During his Mellon Fellowship year at the Forum, Dhanveer examines the ontological, epistemological, and formal registers of black music by considering its colors. Functioning as the creative and technological avant-garde of the black diaspora, the rates of innovation within the field of black electronic dance music of the late twentieth and early twenty-first centuries serve as a setting for this examination. The intellectual impulse comes from the theories of blackness currently being debated by Fred Moten, Nahum Chandler, Frank Wilderson, Jared Sexton, and Saidiya Hartman. Brar's hypothesis is that as the most recent and intense manifestations of black diasporic culture, black electronic dance music marks both the instantiation and abeyance of blackness as racial ontology, of blackness as political subjectivity, and blackness as aesthetics, through the insistence that it is not, but nothing other than, black music.