The consideration of color/lighting in time-based media resurfaced for the author in the cinematic creation of "Moonlight" (Romanski & Jenkins, 2016), and subsequently in the creation of "If Beale Street Could Talk" (Barnard et al., 2018). She was moved by the thoughtful consideration of color/lighting/editing, which would impart dazzling affect in the overall visualization of Black skin tones. This thoughtful attention by the creators of such work would achieve a stunning aesthetic narrative, unlike she had seen before. The careful attention to these elements reveals how burgeoning contemporary artists have been enabled to provide new narratives for viewers. The power inherent in the processes of capturing/creating and editing of the final image should be noted. It is in these moments that she is reminded of the role and importance of the artist (producer) in the "loop" of curating and advancing a visual narrative for the viewer (audience). To omit consideration of who is producing these visual texts (and what structures enable this production), is to provide an incomplete narrative. This is where pedagogical practice plays a key role. Recently, she has been particularly moved by the ways that interdisciplinary scholarship and contemporary artists of color have been positioned to offer fresh ways of approaching the visual(ization) educative process. The works of cultural studies scholars Stuart Hall (1997) and bell hooks (1996) have inspired this commentary, as she considers what is possible for expanding a contemporary visual arts-based pedagogy. She has been inspired by their contributions and ways of approaching the visually mediated culture. With aims to advance the work of cultural studies scholar Stuart Hall into the field of art education, she offers the question: How might arts-based pedagogies help to examine the power invested within a visual(ization) education process?