This is not a relationship of simple reflection, where art is a mirror held up to some underlying economic “base” assumed to hold the truth of the world, much less one of homology, where art reflects some mystical world spirit distributed evenly across the whole of society. Rather, I argue for a complex set of reversible mediations between different social spheres. On the one hand, wage labor and other types of unfree work provide the social and technical means for art work. Artists and writers draw from the methods and means and techniques available to them, many of which come from the workplace, and in doing so respond to the world of work, recasting it, critiquing it, celebrating it, or constructing alternative social arrangements from it. At the same time, however, industry looks to art as a sphere that can be commodified and to art work as an activity that can be turned into waged labor. Finally, in searching out its own methods, industry looks to art for transposable techniques, means, and materials that it can borrow and put to work, so to speak. To Adorno and Horkheimer’s notable examination of the industrialization of culture, we must add an understanding of the corresponding aestheticization of industry. Additionally, we must understand both of these phenomena as dialectically entangled with an active, and sometimes critical, engagement by writers and artists with the methods and materials of capitalist work.