Between January 1, 2015 and December 31, 2015, the Canadian artist Joshua Schwebel will be partaking in a long-term residency at The Künstlerhaus Bethanien in Berlin. This is a program which is funded through the financial support of the Conseil des arts et des lettres du Québec. At the end of this residency, Schwebel will have an exhibition at the Künstlerhaus, presenting the work he did during his time there. As part of his contract with the prestigious Bethanien, Schwebel received a studio and accommodations and will also receive an exhibition budget. For this new work, (working title) Subsidy, the artist will take the entirety of his exhibition budget to pay the unpaid interns that facilitate his time at the residency and who carry out a myriad of daily tasks at that centre. What the viewer will see when visiting this exhibition are the contracts, the paper work, and the ledgers that document this exchange of resources between one worker and the others. A visitor to the exhibition will walk down a long, constructed hallway where, at the end, they might feel something akin to the claustrophobia of the current job market, where most work is done for free on the long-walk towards disenchantment. When the a-ha moment is actualized and the audience realizes that the work was the simple (and highly political) act of paying the interns, they might be happy or they might be angry. They might not think this is art (though they would be, historically, wrong). They might be relieved and they might be jealous. Paid internships are, after all, a sort of Holy Grail in the art world and beyond [1].