Cultural production is the outcome of a complex mechanism where multiple skills, competences and visions converge. What we enjoy in a theatre or in a museum is the peak of a huge iceberg, whose multidisciplinary mass aims at granting the ability of material and intangible artworks to generate the cultural value chain. Many complexities emerge. An effective cultural discourse can arise from many alternative structures of supply: there is no optimal combination of productive factors (elements of a scenography, paintings of an exhibition, etc.), and there is no reference price for cultural work; plasticity means a range of legitimate options for directors, conductors and curators, who are in charge of adopting a clear interpretation key (otherwise they would prove useless); this is clearly reflected upon price level, structure and trend. The institutional network described in the previous chapter is featured by an uneven distribution of contractual power, whose degree depends upon the endowment of information among the various actors of the cultural system. It is technical, but also aesthetical information: the former is normally concealed, in the (forced) name of presumed expressive freedom, while the latter is overemphasised, exploiting the low propensity to cultural evaluation on the part of public and private funders, often of society, where the audience comes from. The cultural system is still perceived as ‘special’, as its isolation in ivory towers normally located in the urban centres confirms and strengthens. It is time to explore its specificities.