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The rights of the widow of a plastic artist, regarding the preservation and authentication of the art works, their sale, and their donation, make her a key actor in the posthumous valorization of the work. However, in a field of art going through professionalization, the widow is also a marginalized participant, forgotten by a history of art that is more interested in creation and heritage. The case studies of Sonia Delaunay, Nina Kandinsky, Jeanne Kosnick-Kloss, and Nelly van Doesburg—all partners of abstract artists who died before 1945—allow us to demonstrate both how important (although uneven) their media presence was and how they used their public appearances to assert their own efforts to promote and patrimonialize their late partner’s work.