Bosker examines her growing interest in becoming a studio assistant for established artists. She finds the position appealing because many former assistants describe it as a transformative experience that deepened their understanding of art. After receiving positive news about the art show she curated in Hong Kong, Bosker decides to pursue studio assistant opportunities more actively. However, she faces several challenges in securing a position. Job postings require technical artistic abilities, so she enrolls in an oil painting class to refresh her skills. Despite receiving harsh criticism from her instructor about her work, she gradually improves.

Additional obstacles emerge as Bosker attempts to network with artists. Some potential employers disappear to residencies or relocated abroad, while others struggle with burnout from juggling multiple jobs to sustain their artistic careers. She secures brief assignments, including helping artist Alexis Dahan install a ceramic piece at the Guggenheim Museum, but this opportunity ends when Dahan announces an indefinite break from creating art due to frustrations with the art industry’s treatment of emerging artists.

Bosker continues pursuing temporary positions, assisting various artists with tasks ranging from sculpture preparation to grant writing. However, she remains particularly drawn to artist Julie Curtiss, whose work has captivated her for over a year.