Visual arts education must outline a defensible vision for our discipline that acknowledges the arts are White property. In this article, I argue that visual art itself should be recognized as a racializing technology contributing to the production and ranking of human difference. I show how a previous iteration of visual arts education--visual culture art education--also called into question the role of visual art in producing the cultural superiority of the Enlightenment subject, who was key to the historical emergence of whiteness itself. However, this approach to art education was more concerned with the political ontology of the image rather than the human. Drawing on Al-An deSouza's studio practice, negotiated refusal, I begin to outline a vision for visual arts education that recognizes the arts as White property, and yet does not give up on either fine art or the human.