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Artists based in the United Arab Emirates (UAE) are pressured by international art elites to critique the illiberal regime under which they live. But doing so is illegal. It can lead the state to retaliate with harassment, detention, cancellation of residency visas, and expulsion. Nonetheless, gatekeeping curators and critics validate UAE‐based artists' work as worthwhile and good if these artists critique the UAE state. How do these artists balance the perils of retaliation and deportation with an exhortation to critique the state for the sake of career success and international visibility? They do so by deploying a form of critique predicated on omission and ambiguity; I term it conspicuous omission. This practice reveals norms of critique, and the normative expectations placed on contemporary artists based on their place of residence or origin. [ABSTRACT FROM AUTHOR]