The objective with this study is to shed light upon how international exchanges on the comic art market contribute to democratization processes and renegotiation of hegemonies in the literary field worldwide. The focus is on how the variation in imported comics from a central language, in this case French, to the peripheral space of Sweden, can be observed during the time-period 1900–2020, as well as on which diversity importation of comics has been allowed over time. Theoretically anchored in sociological perspectives in literary studies highly influenced by Casanova’s ([1999]2004) seminal work, this contribution challenges established approaches in the field that depart from central cultural spaces in the world. Instead, this analysis highlights how the periphery gains agency on the international market and challenges relations of domination through translation practices. One hypothesis put forward consists of the idea that Francophone author-illustrators from the global South would be identifiable in the data in 1990’s, as is the case in the literary field. However, in the comics field this change emerges later, and does not appear distinctively until 2005. The change is paired with a promotion of Francophone female author-illustrators in Swedish translations, equally from the global South and the global North. The results also highlight that Sweden positions the Francophone space as hyper-central within the comics field. The specific practices adopted in the importation point to how a periphery creates agency to define a medium and a genre locally and play a role in international cultural exchanges.