It has become a commonplace to consider the ideal of an artistic work attitude as being the very driving force behind today's "aesthetic capitalism." The present contribution questions this notion and shows that the exemplary model of the artist merely represents one component of a much larger "regime of potentiality." Thus, the article propounds the analysis of "potentialism" as an approach that might help to grasp the reproductive logics of late capitalism without reducing them to a "creativity dispositive."