As artists’ and curators’ practices are always heavily networked and collaborative—often with other kinds of practitioners—why do descriptions of collaboration, group, or collective work still acknowledge, and by extension attribute (greater) value to only a few individualized positions? Given the shared questions around how collaboration is discussed, it is worth considering what the ramifications are of the continued use of a limited set of individualized labels, especially when their connotations no longer match how so many practices operate. Rather than listing everyone in every constellation and expanding on the range of individual and positions involved, might finding different ways of describing collaboration be a more productive way of moving beyond this conundrum? This essay explores how we might be able to go beyond hierarchies through the lens of Isabelle Stengers’s notion of “ecology of practices.”