This chapter examines the place of art in two concrete ways, first, as the location of the site-specific atrwork involving an artist's drawn-out commute during its production, and second, as a re-location the artwork undergoes as it is displayed in other venues.  The focus is on Sound Machine, by Paris-based artist Esther Shalev-Gerz, initially created for Norrköping's Industrial Landscape, before it began "commuting" to other venues, including Paris and Stockholm.