The »new spirit of capitalism« which has made itself felt in the art world in ever more blunt and at the same time more abstract forms of marketing and transfer has given the artistic practices once known as instituional critique an orientation more critical of economics: (post-)Marxist commodity and market critique, (post-)situationist event and media theories, and (post-)operaistic work discourses merge and diverge with respect to the question of whether and where, in the field of art, processes are discernible which lend the presentation and represention of »works« and other associated forms of expression a critical or even oppostional effect. Compared with classic, site-specific versions of institutional critique which focus on the mostly invisible economic, social, and ideological conditions of art by means of physical-spatial intervention, the displayability and hence aesthetic experientiality of more recent forms of economic critique demand different kinds of inquiry. These – the essay endeavors to show – are dealt with in the video feature »I‘m Short Your House« (2007) by artists Stepha Dillemuth and Nils Norman, shedding light on problems that touch in a fundamental way on the (self-)positioning of art during the current financial crisis.