The author discusses Randy Vick's analysis of studio-based programs in the United States and Europe for artists with disabilities. The disability studio, advocates the writer, is generally a grassroots, ad-hoc creation, staffed by self-taught practitioners who operate seemingly unaware that the operation of studio programs for artists with disabilities is a worldwide movement. Project Onward, with which the author is associated, is cited as a representative example of a studio that arose out of a specific need, which was to help a small group of talented artists with disabilities overcome obstacles to art making, with no additional agenda or modeling on an existing program. Project Onward is designed to support artists with developmental and mental disabilities by providing workspace, art materials, and professional guidance in a communal studio. Placing his own and other programs in the context of Vick's analysis, the author advocates for development of an expanded field for art therapy, wherein interested practitioners gain additional training in studio, connoisseurship, and curatorial practice, and where professional practices reflect ethical conduct with commercial gallerists and dealers.