This paper is an in-­‐depth examination of two artworks: Crisis in the Credit System(2008) by Melanie Gilligan and Inventory (2007) by Carey Young. These works are positioned as successful critiques of contemporary speculative capitalism. This criticality stems from the works’ ability to engage the institution of the economy as a network, which itself functions through language. With Crisis in the Credit System, art acts out finance. Gilligan’s film takes the familiar signs and symbols of capitalism as its script, yet with narrative exposes the abstraction of this vocabulary. With Inventory, art acts as finance. Young’s work assigns a value to the artist’s body based on a chemical breakdown of the body’s constituent elements, which then becomes the offer price of the artwork. The artist and the work thereby adopt the role of financial products. Through irony, these two works question processes of signification and meaning in financial capitalism.