What role did Picasso play in histories of decolonization in Africa? Is it true, as some scholars have argued, that Picasso always embodied the rapacious colonialist—perpetuating “primitivist” tendencies from his African period—even when Third World nationalist movements gained momentum during the 1950s and later? Or, as others have claimed, did the artist’s mid-century ties to Communism and peace activism make him a straightforward anti-imperialist ally? Seeking answers to these polarized questions, this paper tracks exhibitions of Picasso’s work during the decolonization period, and surveys African artists’ and intellectuals’ reactions to Picasso’s art and legacy.