In 2015, Aretha Franklin took the stage at the 38th Annual Kennedy Center Honors ceremony. Before beginning a performance that would bring the president of the United States to tears, she placed a sparkling purse on top of the piano, a signifier of her refusal to sing without first being paid (Glum, 2018). Centuries earlier, in 1649, Artemisia Gentileschi wrote a letter to a favorite patron of hers. In the letter, Gentileschi refused to send sample drawings of a painting he was requesting, even though it possibly cost her the commission (Bissell, 2000). In 1633, Judith Leyster was one of the first female artists admitted to the Guild of St. Luke, the official society for working painters. Leyster's painting technique was so masterful that many of her paintings would be mistaken for her teacher's, Frans Hals (Fox, 1993). In these three examples, the women artists navigated biases in savvy ways, demonstrating "artpreneurialism," or the ability to advocate for the social recognition of their creative labor. This article presents a discussion of historical struggles coupled with a review of current creativity, entrepreneurship, and bias in the art market, and proposes an "artpreneurism" framework for considering these inequities in art education.