The transition from pro athlete to retired one is often described as a "loss of identity," but for two-time Super Bowl champion Malcolm Jenkins, it has been a masterclass in expansion. After thirteen seasons in the NFL, Jenkins isn’t just looking to fill his time; he is looking to redefine the boundaries of what a Black athlete can be. This week, as the world descends upon the Super Bowl, Jenkins is pivoting the spotlight toward a different kind of canvas during his second year hosting "The Game of Art."

The initiative is a curated intersection of high-stakes sports and fine art, designed to introduce the next generation of Black collectors and athletes to a world that has historically felt off-limits. For Jenkins, the journey from the locker room to the art studio was a natural progression rooted in his upbringing. Growing up in a household where the works of artists like Cynthia Vaughn adorned the walls, Jenkins was raised with an appreciation for visual storytelling. Vaughn, an esteemed painter known for her vibrant depictions of African American life and heritage, served as Jenkins' earliest window into the power of the canvas. However, it wasn't until his 2022 retirement that he began to see the art world not just as a hobby, but as a mirror to the game he played for over a decade.

"Galleries and museums are like the Hall of Fame—you’re just looking at the history of the game," Jenkins said. "But stepping into an artist’s studio? That’s like being in the gym or the classroom. You’re seeing the actual movement and the work behind the scenes. That’s a language I speak fluently."

That shared language is what led Jenkins to spend a recent weekend at the studio of Hank Willis Thomas, a world-renowned conceptual artist whose work often explores themes of identity, commodity, and the Black body in sports. The two spent hours discussing the philosophy of "Infinite and Finite Games," a concept that focuses on playing to continue the game rather than playing to simply win and end it.

For Thomas, having an athlete of Jenkins' stature in his workspace felt like a meeting of the minds. He noted that the intentionality required to master a defensive scheme is not unlike the focus needed to execute a complex sculpture or painting.

"I love the way that he kind of sees the relationship so clearly between artist practice and the practice of a professional athlete," Thomas said. "Creativity and commitment and kind of practice and intentionality are so central to the production of what we do."

One of the centerpieces of "The Game of Art" is a poignant work by Thomas titled Football and Chain. Created nearly two decades ago, as Jenkins began his NFLjourney, the sculpture features a player diving for a catch while tethered to a first-down marker. It serves as a stark metaphor for the limitations placed on Black athletes—from the lack of name, image, and likeness (NIL) rights in years past to the psychological "chain" that prevents many from being seen as anything other than a jersey number.

Jenkins admitted that the piece hits differently now that he is no longer in uniform. He sees it as a representation of the struggle to leave the game and explore a life beyond the boundaries of the field. By bringing this work and others to the Super Bowl, he hopes to spark a dialogue among his peers about legacy and communal wealth.

"I see my peers as a new collector group, as a group that's becoming more and more empowered as contracts get higher and they get younger," Jenkins explained. "That’s potential for real power and influence. I want to start those environments of creating those opportunities for us to pass information, to convene, to celebrate, and get to know one another."

The event isn't just a party for the elite; it is a calculated move to normalize Black presence in spaces like Christie’s or Art Basel. Thomas pointed out that while Black culture dominates the entertainment and sports industries, the "highest levels" of the art world—where true equity and ownership live—often lack representation. He likened Jenkins’ efforts to the legacy of Paul Robeson, the 20th-century icon who was both an All-American football player and a global art force.

"We now seem like we're put in a box and we're not really allowed to go outside of the box," Thomas said. "But what I love about especially a lot of the first Black artists and athletes to kind of break the mold was that they were kind of opening doors in our minds about where we could go, where we could belong."

Jenkins is putting his own resources behind this vision, flying out six featured artists to the Super Bowl to ensure they have a seat at the table alongside NFL and cultural leaders. The roster includes heavy hitters like Derrick Adams, Majorni Meriwether, Jerrell Gibbs, and Alteronce Gumby. By providing these artists with access to the Super Bowl's massive platform, Jenkins is hoping to create a "village" mentality where value is exchanged through relationship-building rather than just transactions.

As Jenkins looks toward the future, he envisions "The Game of Art" becoming a staple on the Super Bowl calendar—a mandatory stop for seasoned collectors and rookie enthusiasts alike. Success, in his eyes, isn't measured by a trophy, but by a healthy ecosystem where Black creativity is protected, celebrated, and owned by the community that inspires it.

For those unable to attend the festivities in person, Jenkins has opened a digital "preview room" to ensure the art remains accessible to the public. It’s a move that aligns with his goal of breaking taboos and proving that while the cleats may be off, the real work of building a legacy has only just begun.

Fans and art enthusiasts can view the featured works and learn more about the initiative by visiting thegameofart.com.