In the past years, there have been quite a few diagnoses of the field of contemporary art that all ascertain structural changes. They recognized fissures affecting society as a whole, technological innovations, as well as increased professionalization and financialization. What they have in common is the assumption that this has led to an expansion of so-called “contemporary art.” The postulated changes provoke pessimistic, nostalgic, and affirmative responses, with the more productive ones espousing the necessity of a change in perspective demanding that art and its economies, the work performed by art, and the relationship between autonomy and heteronomy be understood in a new way. The series Open-Ended Issues: A Series on Overproduction and Ambivalence in Contemporary Art does not intend to give final diagnoses or declarations, but to provide situations in which some aspects of the outlined issues and structural ambivalences can be negotiated in an open-ended way.