“We need (objects) to think with,” Adamson writes. But what are we to think? What are we, today, to make of them? Why have artists seemed to have embraced material promiscuity, and how does the market interact with their polyamorous infatuation? In 1969, the idea that a chair is a work of art might have seemed as preposterous as an NFT. Today, “makers” and “creators” are so often asked to fabricate both piece and personae that perhaps it makes sense to avoid material specialities and focus on presence. Objects: USA 2020 fruitfully relies on the when of an object for current meaning. Will that hold? Only time (and Objects: USA 2069) will tell.