“Corporate Memphis” became a cautionary tale because it was a way for us to articulate our anxieties about the creative industry’s unstoppable march towards neoliberal practices. It was a reassuring way to make our demons visible, and therefore manageable. These anxieties about style, authorship, or corporateness far exceed flat art, both in longevity and scope. To adapt Žižek’s famous quote, we don’t hate flat art, we hate capitalism (and what it does to creativity). The systemic issues and deep-rooted ideologies that undermine illustration are not going anywhere any time soon. We can only hope they will be scrutinized and criticized as thoroughly and vigorously as flat art was. Because in the end, it was never really about the style, was it?