This paper explores the relationship between the meat supply chain and point-of-sale animal imagery in West Africa. A typical butcher stall in The Gambia is constructed of corrugated metal and located at a junction with heavy foot traffic. The name of the business is often painted alongside a colourful profile of one or more of the animals vended. Whether this artwork has any empirical relationship to the breeds that supply its animal products is worth asking because markets are a historical driver of breed change. My proposal is that studying this genre of butcher wall-art has significance for understanding how trade networks affect consumer habits and, possibly, the goals of breed conservation. Weekly rural livestock markets supply the regional trade and provision butcher shops across The Gambia. Economic research has shown that livestock buyers in West Africa demonstrate breed preferences when purchasing sheep and goats (Jabbar 1998). The cultural value of caring for breeds entails market value yet may also involve spatial concepts of diversity—where animals come from—that depart from the genealogical understanding of breeds common in animal science (Nash 2020). By exploring the decision-making around buying animals and meat, and whether these decisions relate in any way to the iconography portrayed on a place of business, this study investigates how markets consolidate and represent geographies of production. Attention to the sector-specific graphic art adds humanistic considerations to economic discussions of meat. What portraits on butcher stalls in The Gambia suggest to consumers, beyond advertising the generic presence of a meat seller, is an anthropological topic that intersects with research on commodity branding and semiotics. I will investigate how the painted signage on roadside kiosks speaks to entrepreneurship in The Gambia. This study of butchers, buyers, and breeds offers a unique perspective on the cultural economy of food.