This chapter considers the relationship between art, commerce, and creative labor in the cultural marketplace, as depicted in Peter Greenaway's “Dutch Masters” films Nightwatching (2007) and Goltzius and the Pelican Company (2012), and secondarily in the spin-off mockumentary Rembrandt's J’Accuse (2008). I pursue this inquiry in the context of a broader interest in how Greenaway's films engage with the (artistic and political) public sphere, for a historical imaginary of publicness is present in many of his features and inflects how themes of democracy and public freedom, artisthood and creative entrepreneurship are taken up and interrelated. In one perspective, the films in the “Dutch Masters” series would seem to be thematically continuous with earlier features in Greenaway's oeuvre, most notably The Draughtsman's Contract (1982), in that they foreground the contractual element that binds artist-entrepreneurs to structures of power and patronage in which they might get enmeshed and lose (artistic) control. In what follows, however, it will be argued that the “Dutch Masters” films also form a new departure as they invite analysis of the pressures placed on subjectivity when the imperative to “be creative” is generalized to extend from artistic or aesthetic labor to immaterial and affective labor in a large, encompassing sense. The point is to show how, in so doing, the films probe the ways in which “art” and “business” slide into each other in the present cultural juncture.