When Beyoncé and Jay Z dropped Everything Is Love this weekend, they reminded us that they are untouchable. After all: who else can you imagine renting out the goddamn Louvre for a music video?

In the video for Beyoncé and Jay-Z’s “Apeshit,” the first visual from the pair’s surprise joint album Everything Is Love, the two stars romp through the Louvre in Paris, seizing center stage in a high-culture palace that – like most Western art museums – historically made little room for non-white artists.

The fact that they nearly broke up comes off as a form of conspicuous consumption. “He went to Jared, I went to JAR out in Paris,” Jay-Z raps. Beyoncé’s reply: “Yeah, you fucked up the first stone, we had to get remarried.” (Adorably, it continues. Jay: “Yo, chill man.” Bey: “We keepin’ it real with these people, right?”)

Everything Is Love represents the long-awaited with-our-powers-combined capstone from the megacouple who, in their album credits, call themselves the Carters. After marrying in 2008 amid successful individual careers, Jay-Z and Beyoncé embarked on a 2014 arena tour beset by rumors of Jay-Z’s infidelity that appeared to be confirmed by two separate confessional albums, her Lemonade in 2016 and his 4:44 in 2017. Now, their joint narrative arc—a masterful conflation of art, commerce, and gossip—has culminated in a second arena tour and a surprise full-length album.

Some of their mission involves the strategic highlighting of non-white images already in the Louvre. Beyoncé and Jay-Z rap in front of an Egyptian sphinx, and in galleries filled mostly with neo-classical French paintings – white artists, white subjects – the camera singles out black faces. (The video is directed by Ricky Saiz, who also helmed the “Yonce” video from Beyoncé’s eponymous 2013 album.) Viewers catch brief glimpses of a pair of black figures in Paolo Veronese’s painting “The Wedding at Cana,” where Jesus turned water into wine, as well as a quick look at Marie-Guillemine Benoist’s “Portrait d’une Négresse,” a depiction of a black woman staring guilelessly back at the viewer.

Much of the potency of the “Apeshit” video comes from the contrasts drawn between the “white” art on the walls and the black women on the gallery floors. In front of David’s “The Consecration of the Emperor Napoleon and the Coronation of Empress Joséphine,” a court scene of relentless white extravagance, Beyoncé and eight black dancers hold hands and begin to dance. It takes just a few synchronized sashays to upstage David’s massive painting, replacing an ornate symbol of white authority with a celebration of black bodies in motion. The Louvre’s stature depends on people believing that “The Coronation of Empress Joséphine” is the art, but the eye tells a different story – hanging behind Beyoncé and her dancers, the painting is reduced to wallpaper.

Jay-Z’s role in the new clip is more limited – the rapper stands around in pastel suit jackets, gallantly letting his wife do all the work, wrecking frame after frame. He relies on his lyrics to make the points that Beyoncé and her dancers drive home visually. The beat, co-produced by Pharrell Williams, splits the difference between the zaniness of Rae Sremmurd’s “Black Beatles” and the crushing momentum of Future’s “Move That Dope;” Jay-Z raps quickly and cleanly, often while standing in front of Théodore Géricault’s painting “The Raft of the Medusa,” throwing darts at traditional bastions of white-ness outside the museum world, including the NFL and the Grammys. When he raps, “I said no to the Super Bowl / You need me, I don’t need you,” the camera flashes to a line of young black men taking a knee, alluding to Colin Kaepernick and other players’ decision to kneel during the national anthem to protest police brutality.