Are self-run artist centers truly a tool for political action (or resistance) in Quebec? Are they compatible with creative impulses, are they threatened in this era of the dematerialization of works, in favour of a flow of communication operated by the digital shift? If so, does this mean that the emergence of digital dissolves any form of local political connections? This is what this text intends to explore, by paying attention to the recent mutations observed in cultural policies and creation. It should appear that the management process, far from being a hindrance to creation, can be an extension of it, since it mobilizes the same skills required to succeed as an artist.