This chapter moves between three figures of angels. Two are philosophical-theological. One is choreographic-political. It draws from theoretical energy, from the bumps, collisions, collusions, and tensions established between the three angel's distinct relationships to concepts of agency, kinetics, history, and politics. It argues that modern Western choreography created its ideal subjects, its servants of movement, on the basis of classical physic's formulation of universal and therefore "historical" laws governing the smoothly coherent motion of bodies-as-fluids thus precluding what Catherine Malabou has called the "ontology of the accident". It analyses the black choreographic angelology of Ralph Lemon and Walter Carter's decade-long collaborations. Which means that choreographic angelology involves a diagrammatic definition of agency, one that does not align agency with unbridled omnipotence, but rather understands "the fulcrum of agency" to denote "choice as the moment of interpellation that is not 'free' of, but in fact intensely informed by, whatever in the physical and mental environment one notices in that moment".