One of the central tasks of public theology is to address structures of marginalization and injustice and to mobilize its theological resources against them. Yet this commitment raises an epistemic question: how can public theology recognize marginalization in the first place, especially when injustice is all too often diffuse, normalized, or rendered socially invisible? This paper argues that Hip Hop can help register structures of marginalization and injustice that are often overlooked within dominant modes of public reasoning. Across many of its strands, Hip Hop persistently exposes structures of inequality, often articulated by those directly affected by them, and develops aesthetic languages for rendering injustice audible and visible in the public sphere. At the same time, Hip Hop itself remains deeply ambivalent, at times reproducing forms of exclusion and marginalization. Drawing on recent work at the intersection of Hip Hop studies and (public) theology, the paper develops the contours of a critical Hip Hop epistemology for public theology. It shows how engaging Hip Hop can sharpen public theology's attentiveness to hidden structures of marginalization and injustice while also requiring forms of internal critique that avoid both romanticization and paternalism.