What insights do artistic and curatorial frameworks have to offer to the project of justice? The growing body of interdisciplinary and provocative research on the relationship between the humanities and jurisprudence is evidence of the value of a broader range of discourses and approaches to address past and ongoing conflicts in a deeply unjust world. This study takes an art historical approach informed by the theoretical focus of cultural analysis to investigate the art collection of the Constitutional Court of South Africa as a means through which to examine the potential of art to recalibrate accepted principles of justice. As a monument to the democratic project of the country as well as the most senior bearer of responsibility for human rights, the Constitutional Court’s carefully considered visual interface and its collection of over six hundred artworks, amassed over the last 25 years, provide a rich entry point into establishing art’s recalibrating potential in sites of justice. Based on first-hand experience as the curator of the Constitutional Court Art Collection (2012–2016), this research mobilises close visual analysis and “thinking through the curatorial” to trouble widely accepted consensus around human rights as a resolved set of ideas. This research identifies the productive intersections between art and justice as centring on a concern with representation. I pose that art has a uniquely provocative potential to bolster a consensus of differentiality in relation to the visual but also to foster dissensus in varied and shrewd ways. Further, I position curating as a dangerous practice via which experimental institutionalism is enabled and, as long as institutions of justice are able to tolerate critique and discomfort, curating art in sites of justice will have an important role in the long ending to apartheid in South Africa. Beyond social efficacy in that context, this research offers novel perspectives on the history of political art in the country; on the role of former Justice Albie Sachs as a legal authority as well as an impromptu collector and curator; on how human dignity in particular might be recalibrated as a foundational tenet of justice in South Africa and in neoliberal human rights discourse in general; and on how curators might navigate the practical, theoretical, and ethical demands of the profession. Further, this study begins and ends with a personal reckoning with privilege in search for ethical ways to live in an unjust world, which has been shaped by centuries of differential rule and in which we are all complicit as perpetrators.