This inquiry aims to demonstrate how dwelling in a phenomenological space during the experience of art by Black, Indigenous, and people of color artists can spark the process of recognizing the ways in which we have been programmed by colonial thought. In responding to five guiding questions as individuals in a process of phenomenological art inquiry, before we brought our thoughts together, we broached the kind of refractive analysis that Barad suggested in striving to understand the story the artists convey as well as each other's responses to the works of art. In the spirit of sister scholarship, together we came to a place of being one step closer to understanding the impact of colonial logics in our learning and teaching, and what is required to work in ethically relational and decolonizing ways. We offer this article as an example of one means of decolonizing our practice as artists, researchers, and educators.