‘Appearance’ is a curious category in the fields of theology and art. Its fleetingness and dissimulation render itself highly suspicious; yet, as Goethe would say, the only way to present a loftier reality is through the employment of appearance. This paper revisits this uneasy correlation, using Max Surban’s homegrown song: Apir as the jump-off point for discussion. From hereon, various interlocutors – Sennett, Arendt, Bakhtin, Ranciere, Derrida – are brought to the open by the author in order to create imagined spaces of engagement and occasion the re-emergence of ‘anonymous poets’ – those ordinary aesthete-theologians that populate the undersides of sociality.