The enduring relationship between the arts and patronage has been shaped over centuries, with the financing of works of art – whether painted, constructed, or performed – emerging early in human history as a strategy for making power visible. Numerous examples across the globe illustrate the widespread nature of this practice. Beyond direct financial support, patronage extends to indirect contributions, such as the enhancement of collections by donating artworks. As with any form of donation, this involves reciprocal obligations, a dynamic that Marcel Mauss recognized in his “Essai sur le don,” published in 1923. However, a series of new requirements in the management of museum collections, notably concerning the legality and transparency of the provenance of cultural goods, has brought certain practices under scrutiny. These developments raise questions about traditional forms of patronage, particularly in the triad of gift, acceptance, and counter-gift in the context of museum acquisitions. By examining examples drawn from several “problematic” contexts, this dynamic can be reassessed in light of today's increasingly stringent ethical standards.