Bippus dismantles the inherited opposition between the reproducible scientific experiment and the singular, risky artistic experiment by showing that both operate through historically situated mixtures of control, resistance, repetition and contingency. Her iconic proposition is that experimental knowledge arises neither from pure spontaneity nor from methodological certainty, but from an organised exposure to what cannot be fully devised in advance. Artistic experimentation works through colours, forms, conventions, instruments, technologies and modes of representation; it therefore makes aesthetic thinking materially operative rather than treating aesthetics as an autonomous sphere of judgement. Bippus’s method is genealogical and comparative: she tracks shifting meanings of experiment, scrutinises the laboratory–studio analogy and uses conceptual art to resist the mystification of creative unpredictability as genius. The resulting account makes systematic repetition compatible with artistic research while recognising contradiction and incompleteness as epistemically productive. Its wider bridge is to science and technology studies, especially the study of how apparatuses, discourses and institutional contexts distribute legitimacy among heterogeneous forms of knowledge.