William Kentridge’s counter-allegory of political education, in contrast to Plato’s allegory of the Cave, prepares viewers to resist, protest, and imaginatively demand political respect with a radical poise that he believes will be deeply rooted in our psyches. The fugitive figures in Kentridge’s counter-allegory—the workers, porters, and other ‘puppeteers’ who carry the heaviest loads—give viewers a wider peripheral field of vision and a more inclusive and self-aware stereoscopic soundscape so that they can keep their heads above water in the churning wake of apartheid and can imagine an alternative to that regime of power and violence. Jacob Lawrence’s visual art enables viewers to see and imaginatively feel a part of processions centered around another apartheid: the long struggle against chattel slavery and its legacies in the United States. For Lawrence, the collective political virtue of radical poise is enlarged by the hope and imagination of these struggles for what Neil Roberts has called “freedom as marronage.”