At the heart of colonialism is the desire to make the colonized sources of exploitation by the colonizer. The colonizer commodifies the colonized and the world that the colonized inhabits in a manner that the process and outcomes always benefit the interests of the colonizer. In this chapter, I argue that a legitimate response to the exploitation of colonized Africa entails a theo-decolonial turn that evokes a memory of surplus. A theo-decolonial memory of surplus is a deliberate turn to a polyphony of memory and an embrace of strategic alliances that refuse to validate the false duality that the scarce imagination inherent in colonialism produces. Furthermore, a theo-decolonial turn must necessarily embody the praxis of the retrieval of historical memories as a form of painting. Why is painting a relevant motif here? Encountering painting offers the possibility of knowing and unknowing. The painter paints. But the viewer who encounters the painting is drawn into a world of knowing and unknowing. The viewer sees the familiar, but the painting transcends the familiar. This transcendence offers the possibility for the painting to offer more possibilities and opportunities to derive new meanings through the rituals of encounter as proximity between the viewer and the painting itself.