In "Kant Doesn't Know Anything About Beauty", the text is resisting the gaze. While the text on the previous two pieces highlight and critique the limits of self-awareness and strategic Orientalism, in this work, the text is pushing against the Western gaze. Commenting on Immanuel Kant’s aesthetics, I am applying Walter Mignolo’s theory of Decolonial Aesthetics, which refers in general to any thinking and doing, that is geared toward undoing a particular kind of aesthesis, of senses, that is the sensibility of the colonized subject. Mignolo considers aesthetic as being an aspect of the colonial matrix of power, of the imperial structure of control that began to be put in place in the sixteenth century with the emergence of the Atlantic commercial circuit and the colonization of the New World, which was transformed and expanded through the eighteenth and nineteenth centuries, and up to this day. Mignolo argues that Western knowledge and aesthetics has been spread globally and, therefore, it is in all of us—that aesthesis is not restricted to the art world, but is a basic human attribute. In this work, I’m seeking to delink the legacy of modern aesthetics and its Greek and Roman legacies, by reviewing the legacies. It is necessary to start from concepts introduced by Western philosophy, science, religion, arts, and knowledge in general in order to delink them.