Public reception of artistic inquiries into Danish colonial legacies insistently focuses on singular authorship, quality and visual representation. In public discourse, I argue, collectively uttered needs for decolonization are willfully ignored. Through an analysis of the aesthetics of reception and its entanglement in post-enlightenment onto-epistemologies of separation, I demonstrate how the “carceral frame of the art work” (Moten qtd. in Harney et al.) is upheld in both art criticism and in the infrastructures of the arts. However, informed by practices of BIPoC artists’ collectives, I will describe and theorize a current changing conception of production in aesthetic theory. Moving from the Kantian heritage of isolation, interiority and exclusion, I suggest instead to think with the conception of an aesthetics of co-(re)production (Kunst, “NT”). This shift to co-(re)production changes the conception of what an artwork is, namely not an action or an object produced through freedom by one artist, but an imprint of interdependency, a socio-aesthetic structure woven between history, infrastructures and people. Perceiving artistic production as interdependent challenges a racial grammar otherwise inherent in the tradition of Western aesthetic theory.