Current interpretations of North American cultural production stress the spatial concentration of these activities in metropolitan centers. There are, however, multiple geographies of cultural production, with other cultural activities deconcentrated and, in some cases, dispersed to distant locations. This situation poses an enigma, since these activities normally form part of a social economy in which networks of personal communication remain important. This paradox is explored using the case of the comic book industry, which has shifted from an in‐house Fordist‐like mode of organization to widespread distancing employing neoartisanal workers who are sometimes located close to the publishing houses, but in other instances are at considerable distances and hence require electronic communication and overnight courier services. Comic book artists often work in isolation but participate from time to time in social activities that are necessary to their creative work. Their work is seen as one of a number of cultural activities that form a periodic social economy with a distinctive time geography.