By describing this particular assemblage of visual forms, color and content as “corporate,” we drew a line around it, enclosing the “corporateness” within recognizable boundaries. In doing so, we felt reassured that as long as our work does not look like that, as long as we do not work for Big Tech, we are safe from “corporateness” and neoliberalism. But if I make watercolor paintings for The New Yorker (i.e., Condé Nast), am I less of a “corporate” artist? If I create pencil drawings for Starbucks, do I participate less in capitalism? Reducing these complex systems into a single style is certainly naive, and self-righteously judging our peers only exacerbates the issue.