This dissertation tells a story about contemporary artistic responses to neoliberalism that emerged in the 1990s. My study focuses on Liam Gillick and Pierre Huyghe, two artists whose work reflects on transformations in the field of work in the late 20th century. The shift to a postindustrial workforce; the expansion of communication networks; the rise of immaterial labor and service-based work; and the emergence of the experience economy profoundly altered our understanding of what it means to work. If, the 1950s managerial personality was synonymous with the bureaucratic, authoritarian, and conformist ‘organization man’, by the 1990s management embraces the ‘network man’, characterized by adaptability, creativity, collaboration, and participation. As the sphere of work absorbs qualities typically associated with the artistic personality, Gillick and Huyghe work to distinguish their labor from creative-knowledge work in the service of some kind of feel-good, infinitely flexible, neoliberal management scenario.To date, the critical discourse surrounding Gillick and Huyghe has largely been subsumed under the rhetoric of “relational aesthetics,” a term introduced by curator Nicolas Bourriaud to describe works that engage social interaction and collaboration. Considering the striking similarities between the rhetoric of the experience economy and the contemporaneous turn to experiential practice in art museums, I examine how Gillick and Huyghe engage with experience and participation in innovative ways. Against the clarity of the experience economy’s convivial engagement, the dissertation attends to works that are multivocal and disidentifying, incomplete or deferred, or simply boring. Throughout, I describe how artistic practice intersects with strategic planning, management jargon, quarterly projections, hyperflexible scenarios, business contracts, teamwork, and experience development.