The proposition that urbanism is not planning but an operational closure enacted upon territory marks a decisive rupture with technocratic models of spatial governance; yet it also risks reinscribing the very systemic totalities it seeks to dismantle. Framed through systemic urbanism, the socioplastic thesis mobilises sovereignty as a critical device, transforming territory into a semi-autonomous epistemic field governed by internal logics rather than external regulation. However, from the standpoint of contemporary art theory—particularly post-autonomous practices—the notion of sovereignty demands further destabilisation. Sovereignty here functions less as emancipation than as a performative fiction that stages control under the guise of critique. While the invocation of Luhmannian closure and Wittgensteinian logic foregrounds linguistic and systemic self-referentiality, it simultaneously narrows the field of indeterminacy where political agency might emerge. The urban palimpsest becomes metabolised, but also domesticated: an artefact of high-resolution critique that risks aestheticising domination.