This paper examines Aleksandra Mir’s recent publications Living & Loving: No. 1 and No. 2. Presented as a sub-cultural fanzine interview, Mir’s biographies assemble a series of complex contexts for the subjects, the audience, and for critical discourse. I profile these contexts—social space, shared knowledge and ‘collaborations and contracts’—in order to underscore that Mir’s biographies subvert any defence that relationships formed between artist and audience (and in this case the subject is also the audience) create a just social exchange. From this analysis, it is argued that ‘collaborations and contracts’ between artists and audiences only serve to recreate modernism’s hierarchy rather than collapse any ideological, critical or aesthetic distance that modernism established between the artist and the audience.