Originally a portrait of Napoleon Bonaparte, this painting challenges the audience’s collective memory and urges us to recognize the legitimacy of a black man praised to the same standard. It reflects the lack of diversity within some of the most famous paintings of Western art and is in opposition to the idea of a masterpiece. Wiley is revealing how fake such revered art can be, for example, Napoleon did not even sit for this painting and he has nothing to be revered for because he did not lead his troops into battle. In this new version, Wiley changes the background to something resembling a French wallpaper, but a closer look reveals sperm floating among the red and gold. This blatant reiteration of toxic masculinity could not be more obvious; however, this repetition of the theme is not there to change the viewer’s perception of masculinity, but to be very aware of the way this work enacts masculinity in its sheer presence. It causes viewers to notice the hidden aspects of this toxicity so that the viewer cannot help but notice it.