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The conclusion explores contemporary examples of the accomplice paradigm and the implications of how artists in the 1970s and 1980s developed artistic strategies for putting pressure on social relationships to expose a level of dispossession and shared responsibility that only becomes visible through legal or ethical transgressions. It considers other possible avenues of future scholarship using the accomplice paradigm and offers remarks on the stakes of such studies that challenge assumptions concerning the invariability of the law and the known subject positions of those involved with a work of art.