This paper analyzes the significance of chromatic politics for how young graffiti/street artists in Amman, Jordan construct and mobilize imaginations of the ideal future city. A diverse cohort of artists primarily between 20-30 years of age articulates the distinct value of public art in Amman through negative aesthetic judgments of the “boring” monochromatic cityscape. Artists lambast working-class cement apartment buildings in central Amman that the Greater Amman Municipality paints beige as visual signifiers of a city that is “futureless” and “empty” of both excitement and jobs (Jordan’s youth unemployment rate is around 50%). Conversely, artists laud what they perceive as multichromatic art’s potential for rectifying ubiquitous characterizations and their personal experiences of Amman as a site of dislocation and absence. However, strongly held beliefs about the inherent positive value of colorful art for realizing new, artist-built futures and social orders also shape art practices that at times obscure or intensify spatial inequalities and exclusions. These power dynamics were brought into sharp relief, for example, when artists “beautified” the new site of Amman’s Friday flea market after the state forcibly removed vendors from their former space to “clean up” the city. This paper offers the concept of chromo-topia to explore these processes. A vernacular analytic inspired by Mikhail Bakhtin’s (1982) notion of the “chronotope,” and Farha Ghannam’s (2016) idea of “heterotopic spaces,” chromo-topia sheds new light on the types of civic identities or political-economic worlds that color, lack of color, or particular colors make or are thought to make possible in Jordan and beyond. Furthermore, by examining how Amman graffiti/street artists’ practices can be simultaneously oppositional and complementary to the agendas of the state and its allied institutions, this paper contributes insights into the shifting political landscapes of public art in Middle East cities since the 2011 uprisings.