It reframes independent institutional success as part of a commercial gallery’s seasonal programming, flattening curatorial histories and artist legacies into a convenient narrative of market dominance. In doing so, it exposes a broader discomfort with autonomous Black success, especially when that success operates beyond the direct control of galleries, studios, or auction houses. To be clear, Hauser & Wirth is not exploiting these artists so much as absorbing their visibility into its ecosystem. And what happens when Black artists’ institutional relationships are made legible primarily through the lens of market alignment? Until we can disentangle visibility from institutional co-optation, Black cultural authority will continue to be celebrated, but only on someone else’s terms.