In recent years, curatorial efforts to recuperate the stories and careers of Black artists who practiced during the 1960s and ’70s have indicated an undeniable expansion of the American art canon—a development that recognizes the as-yet-untapped legacies of Black expression that have, consciously or not, evaded these same historicizing modes. Consider the 2021 restaging of the “Sapphire Show,” among the earliest West Coast exhibitions dedicated to Black American women artists, at New York’s Ortuzar Projects, or the recent “Just Above Midtown” presentation at the Museum of Modern Art, honoring