As a standalone second discussion of a study group on distribution in art, this visual thinking exercise spins off to look more at the artwork itself, its possible configurations and an artist’s point of view. Artworks are often given a very concentrated distribution: an exhibition, sometimes limited to the opening of an exhibition, an article, a quick advertisement, … They might be an ultimate consumer product, peaking very fast and disappearing arguably even faster. How can art grasp its own distribution? Which roles can distribution play in an artistic practice? How are these models of distribution feeding back into artistic practices? What does art leave slipstreaming in its wake?