| Sumario: | For some time now, artists, critics, and historians have noted the increasing overlap between art making and other forms of labor within neoliberal capitalism. Many of these observations stem from the correspondences between the seemingly ever more flexible concept of art and the flexibility of post-Fordist modes of accumulation. Some commentators have focused on how both artists and workers in many parts of the world have ceased producing objects and instead engage in performances, provide services, or manage interpersonal exchanges. Others have commented on the professionalization of art as an entrepreneurial undertaking, along with its particular degrees, institutions, and markets. A further approach understands art making within the context of a global “precariat” of contingent freelance workers whose livelihoods are wholly subject to the flux of economic forces. Often these concerns intersect in ways that can be illuminating and provocative, pointing to the tensions and fissures between art and work that disclose differential forms of privilege and value.
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