Building upon Black political theorist Barnor Hesse’s engagement with the Derridean concepts of exorbitance and undecidability, this study interrogates how Michael Jackson’s cultural productions, legal troubles, and public performance exceeds and transforms -not only North American religious thought- but also the terms of Western critical thought on modernity. While the vast majority of scholarly literature on Michael Jackson interprets him primarily as a secular figure decontextualized from the theological consequences of colonial and racialized modernity, this study examines Jackson’s underanalyzed dissassociaton from the Jehovah's Witnesses as part of a broader refusal to acquiesce to the U.S. nation-state’s imposition of race as a colonial-political practice Hesse refers to as “race governance.” Foregrounding Jackson’s underanalyzed disassociation from the Jehovah’s Witnesses in 1987, this study asserts that Jackson’s transition from a paragon of Witness piety to signified apostate and accused criminal constituted nothing less than the conditions of possibility through which Jackson reconceptualized Witness theological investments in Millenarianism, apocalypticism, and racial harmony. The undecidable witness Jackson codified in his art and public performances post-disassociation reveals, as political theorist Richard Iton posited, the degree to which the inclination in formal politics toward the quantifiable and the bordered, the structured, the ordered, policeable, and disciplined is in fundamental tension with popular culture's willingness to embrace disturbance and to engage the apparently mad and maddening. Within this paradigm, Jackson’s divestment from religious piety and investment in amusement parks, Nation of Islam rhetoric, circus aesthetics, and plasticity becomes far more than the excessive fixations of a self-hating freak. Instead, they constitute nothing less than a critique of the racialized foundations of both modern religion and modern America.