Mickalene Thomas similarly recontextualizes Old Master portrait traditions by centering Black subjects in monumental compositions that elevate textile and mixed media techniques to fine art status, directly paralleling Wiley's substitution and reclamation strategy.

Hendricks was a foundational figure in inserting contemporary Black figures into the visual language of classical Western portraiture with dramatic presence and formal rigor, sharing Wiley's core practice of interrogating art historical representation through dignified Black subjects.

Himid appropriates and subverts historical European compositional traditions to reinsert erased Black figures into canonical narratives, and her engagement with decorative and textile aesthetics as vehicles for serious political art closely mirrors the conceptual thrust of this tapestry work.