This paper revolves around a Moroccan community of vernacular artists (Al-‘atara) that endeavor to make a living through art. The understanding of ‘artist’ is challenged here as some of my interviewees, marginalized and precarious, do not consider themselves art producers such as painters—though some of them are—but artists who have a way of evaluating discarded artifacts in the joutia (flee markets), among other places. They consider themselves artists because they utilize their keen perception and vast knowledge of art to find and save misplaced artifacts from the pile of garbage (tourist items, collectibles, broken products, fakes, etc.). Such are artifacts that are doomed to be trashed and eventually destroyed, mishandled, and discarded, but thanks to their efforts, the artifacts sometimes find their way back into the art industry. Such a community of artists belongs to an ancient Jewish tradition of spice and herb sellers in Morocco that was later on passed to local Amazighs and Arabs who appropriated the business model to search for artifacts. They go around souks and villages collecting artistic objects to sell to bazaarists in Marrakesh and Fes, among other cities. Having said that, this community challenges the canonical understanding of who deserves to enjoy and have access to art(ifacts), and which institutions must preserve art. For some of them, their poor socio-economic situation does not equate to their inability or underserving rights to enjoy, collect, display, and criticize first-rate artifacts. As much as they are poverty-ridden and marginalized, they find it important however to learn the skills to engage with artifacts and pass the knowledge to the next generations of Al-‘atara. This paper, hence, investigates ta’tart as an artistic practice that survived rapid technological advancement, molding itself into the contemporary world while keeping its initial motivations, goals, patrons, and protocols. It attempts to come to grips with the kind of practices such communities perform to find meaning in their artistic practices/tradition in the ever so changing world, the diminishing number of practitioners, precariousness, and socio-economic and political vulnerability.