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“How do systems of distribution facilitate our encounter with artworks that refuse the status of the unique art object? Artists’ film and video and artists’ books have both occupied key roles within the practices of interdisciplinary artists for successive generations. However, they have existed at the margin of institutions, appearing most often under the departmental auspices of public and education programs or falling within the mandate of libraries rather than exhibitions. In a narrative of art history written by the accumulation of market value sutured to a limitation of access, the mutable and/or multiple status of artists’ film and video and artists’ books positions them as secondary in status to unique art objects. And yet, they produce a way out; a tear forms along the seam when artists’ film and video and artists’ books determine their own conditions facilitated by strategies and systems of distribution.”