If this is a representative sample of contemporary studio-based research practice in academe, as I implied above, then there is a clear and refreshing tendency among them. This is not their multidisciplinary approach, since this has been the standard, and perhaps a necessary strategy for artists to survive in academe, for two decades. What is new here is the departure from a humanities-based rationale for their investigation, usually in the form of social science or, more typically, post-structuralist philosophy. Instead, this issue presents artists who are drawing conceptual frameworks for their investigations from environmental science, quantum physics, neocybernetics, biochemistry, and radiography. The emphasis on material transformation through process is no doubt what links the artist’s studio to the science lab, as it always has, but it may be premature to claim that contemporary art is coming home to its origins with science.