Helmut Draxler and Christian Hoeller survey the conditions that allowed institutional critique to resurge in the nineties as a major point of critique in the art system, and the subsequent merger between the values of flexibility and topical interventions with the needs of the post-Fordist, neoliberal management culture. They explore how the position of the independent curator evolved into that of a cultural free agent, disseminating knowledge and the new formats of institutions in an understanding of the arts as a creative industry in the service economy.