In the conclusion of this book, I bring together the streams of analysis that each chapter offers into an approach I have called a sociology from art praxis. I position this approach as decolonising, centring the affective, the experiential, the artist and their praxis. Sociology from art praxis accounts for the ecology of the art’s production—physical spaces, values and norms, contextual realities, artists’ intentions, relationship with audiences—as a form of sociological enquiry untethered to rigid sociological standards of Northern academia. It is an art praxis borne in aporetic space. I reflect on themes that emerged across all of the otherwise standalone chapters of this work, namely, war, rupture and hope. These themes, like umbrella concepts, had much to contribute to shedding light on everything else. They were indicative themes that suffused into the subject matter on multiple levels.