Conclusion: Touching Feet and Moving Hands: Art's Repair from Affective Gesture to Capacious Home

The conclusion draws on Meryem Jazouli’s modern dance workshop in the SOCICA housing project in Casablanca and Oussama Tabti’s installation Sweethome! to articulate art’s repair work as a gesture toward what Ariella Azoulay describes as an “unlearning” and ontological “undoing” of colonial-era histories and their postcolonial archives and afterlives. By thinking about art’s repair as an invitation that attempts and sometimes fails to bring people, histories, objects, buildings, feelings, and geographies into relation with one another, we can see yet more clearly the tensions, ambiguities, desires, and paradoxes inherent to decolonial practices of self-constitution and self-revision.