its own right: witness the work of Fritz Haeg , who re-imagines domesticity and domestic artistry by self-consciously queering it, and self-consciously attaching this artful work to place and context. Claiming to engage with the locality and the seasons, Haeg's work re-valorizes the domestic arts. But we have to ask the question (at least this question, in this moment, with the baby wiggling on the lap between the typing fingers) about whether this artistry re-valorizes traditional 'women's work' or whether it only becomes valuable because it has been taken from the home to the gallery, and from the everyday to the sublime. Traditionally, crafts and arts were a way of making necessary 'women's' work pleasant and aesthetic. The rise of 'home economics' as a form of scientific management of home-based work solidified the gendered aspect of this work, but also suggested that these activities could be studied and made scientific. In the decades that followed, second wave feminism invited women to embrace other kinds of work outside the home, and increased prosperity reduced the economic necessity for home canning, rug-making, knitting and sewing. Now, craft and DIY reappear as political acts, reclaiming the personal and communal in a neoliberal capitalist system that has separated effort, affect and creativity from production. This communal aspect has historical roots in activities such as quilting bees and knitting groups, but has flourished online too, through community sites like Ravelry.com and the hundreds of recipe sharing sites that proliferate on the internet. Craft slides in