The conclusion begins with an overview of key themes discussed across the chapters, noting the particular importance of Pierre Bourdieu’s concept of categories of perception and appreciation. Across the chapters, the conceptualizations of such categories—“metacognition,” “roles,” “junk,” “math,” “folk art,” “modern,” “site,” “community,” “wealth,” “blight,” “deficit,” etc.—were key to structuring contexts, affording and limiting possibilities, and framing the meanings of creative work. This observation broaches another topic concerning a more general context in which this book exists: the history of the construct of “creativity” itself, which has changed over time. For this topic, all of the authors joined in a conversation, addressing such themes as the still evolving concept of creativity; the challenges of studying something that is the object of investigation and the context of itself; metaphors for thinking about context and variables; the multiple “creativities” that have emerged in different theoretical frames; other concepts that have evolved in relation to the idea of creativity, all serving contingent social purposes; and among those purposes, the maintenance and recovery of communities. Indeed, books like this participate in the ongoing evolution of the construct of creativity, including critiques of individualistic views that have long held sway in the field.