Efforts to represent female artists and artworks that deal with feminist issues have become increasingly visible in large-scale art events, both regional and international, such as contemporary art biennials. The 2019 editions of the Cochin biennial in India, directed by Anita Dube, and the Rabat biennial in Morocco are two such events to put the spotlight on women. More and more women are named to direct foundations and museums in both the private and public sectors: Koyo Kouoh at Zeitz Museum of Contemporary Art of Africa in Cape Town, Hoor Al-Qasimi for the Sharjah Art Foundation in the United Arab Emirates. Even when it comes to the art market, we seem to be reaching new equilibrium. But the nature of this feminization in art is worth closer examination. To what extent can we consider it “real”, in the sense of sustainable and egalitarian?