ABSTRACT
In Spatial Justice Andreas Philippopoulos-Mihalopoulos places his study "in the register that comes from object oriented ontology". Art is always already immanent to law. And to make matters even more frustrating, the reverse is also true, namely that law is always already immanent to art. The first aspect of the viscosity in the artwork then reveals that becoming takes place where everybody is formed at the "expense of some viscous, slightly poisoned substance". Through the legal construct of copyright the artwork is first given its worth when it is connected to or claimed by an individual artist and their labour, that in turn gives rise to individual rights, more precisely copyrights. Artworks are thus given value by being ascribed to a human. Moving on to the second trait of the hyperobjects as described by Timothy Morton, namely nonlocality. When it comes to law, art and the commons, nonlocality in Morton's sense may not be as counterintuitive as the notion of viscosity.
