This chapter sifts through assumptions about the place of religion in 4'33" in a more fine-grained examination and offers a phenomenological pathway for a theological interpretation of the composition. It follows Cage's explorations of South and East Asian religions and philosophies as evidenced by his study of The Gospel of Sri Ramakrishna, I-Ching, and Zen Buddhism and the decisive influence on 4'33"—Robert Rauschenberg's (1925–2008) White Paintings. Cage came to describe his religious explorations and understanding of the White Paintings with proto-phenomenological language that led to the musical expression of "nothing" in 4'33".