A part of Gillick’s “accusation” is that the artist is the perfect “knowledge worker.” This has important implications for a question central to Marxist aesthetics. Some recent discussion about the artist’s class position (see Davis, 9.5 Theses) have focused on their entrepreneurial nature—that their personal fulfillment and their professional fulfillment have significant overlap. Gillick, too, contests partly that the “accusation” is that artists offer little to no alternatives to the neo-liberal model of entrepreneurship. Artists “communicate and behave in the same manner as those who spend their days trying to capitalize every moment and exchange of everyday life.” Resulting “moments of stress and collapse” in their practice are a natural outgrowth of the resistance to a possible “realm of permanently unrewarding work.” Gillick seems to advocate not for expression in art but instead for a contextual “breakdown of the barriers between work, life, and art.” He reminds us that the fact that "it is superficially hard to determine observable differences between the daily routines and operations of a new knowledge worker and an artist is precisely because art functions in a close parallel track to the structures that is critiquing.”