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The material conditions of being an artist in New York have a direct impact on the aesthetics and considerations taken in the studio and within an artist’s practice. While the return of the influence of Arte Povera and the prominence of post-studio practices can both can be attributed to ideological and conceptual decisions or to new “structures of feeling” in Raymond Williams’s terms, they can also be translated and defined through the prices of lumber, rising studio costs, and the commuting culture created through the gig economy.