In these discussions about the material conditions of cultural practices, the aesthetic dimension of things has increasingly receded into the background. As co-actors in networks of action, things seem to be entirely absorbed in their practical significance. What is overlooked here is, on the one hand, that their effectiveness cannot be separated from their aesthetic and affective power, and on the other hand, that immobilization and passivation are of great importance for all forms of practice and their scopes. These moments of deviation and potentiality are given space in the arts through methods of neutralizing practice - such as exhibiting, performing, rehearsing, or modeling.