This article will discuss a false dichotomy between two models, the modern art studio and the post-studio, which oppose the private and the public, the individual and the collective, hiding and the revealing. We will begin by analysing Daniel Buren’s position in his canonical text “Fonction de l’Atelier” and his practice, where the artist defines the foundations of post-studio work. As the text also describes a New York studio type that must be left behind, we will analyse Jackson Pollock’s and Andy Warhol’s workspaces through drawing reconstructions to demonstrate that these meet the defining characteristics of both models. It will be shown that the artists have used design strategies to retain certain aspects of studio culture while exploring others of the post-studio. This turning point reveals that the current belief about the obsolescence of the studio in a global era defined by communication, networking and mobility ignores its emerging post-studio qualities. This work aims to acknowledge this shift, obtaining a critical vision that will allow us to design contemporary workspaces avoiding stereotypical and reductionist approaches.