 Critical attention to the values surrounding genius and the valorization of individual creativity has occasioned some practical recommendations regarding museum displays and the sorts of objects considered worthy of public attention. In fact, recent years have seen increased attention to works produced outside the academic fine art systems, including the creative products of under-represented social minorities. Hilde Hein pursues this point by suggesting that museums might divert traditional interest in “masterworks” and aim at understanding more commonplace objects and their meanings, thus inverting the usual hierarchy of values manifest in museum and gallery displays (Hein 2010). Hein maintains that the nonhierarchical values promoted by feminist theory might motivate museums to reconsider their visitors and the objects on display, reducing the distance between viewer and object that the concept of the masterwork of genius induces (Hein 2011, 2014). Sue Spaid goes even further, advancing a relational collaboration among curators, artists, and viewing public (Spaid 2020; also Reilly 2018).