“At the turn of the century many artistic and curatorial endeavours were pointing towards the expanded field of art as the horizon with more possibilities than the Modernist and Post-modernist canons could bequeath. My encounter, in the early 2000s, with kąrî’kạchä seid’ou’s Emancipatory Art Teaching project during my undergraduate years at KNUST oriented me to doubly come to terms with the potentialities of this expanded field, and to espouse the risks involved in testing its limits— i.e. to explore it to the abyss to find out what other horizons may be immanent, adjacent, and/or beyond it. The moment I came to understand this ominous, vulnerable, precarious, and vitalist undertone of his teaching method was when art as such became meaningful to me.”— Kwasi Ohene-Ayeh.