The pattern is familiar but the timeline is compressed. Terminal aesthetics' crossover into mainstream cultural coverage has made the neighborhoods that produced it attractive to developers and investors who see the movement's cachet as a marketing asset. Artists who built studios and collectives in Jack London Square, the Alameda waterfront, and San Francisco's ferry-adjacent corridors over the past decade are now facing rent increases and lease terminations at rates that local housing advocates describe as rapid even by Bay Area standards. Several prominent photographers associated with the movement's early exhibitions have already relocated inland. The irony is not lost on those who remain: the work documented displacement elsewhere, and now documents their own.