This study sets out to examine the complicated relationship between artists’ books and libraries. Using interviews with both librarians and museum personnel to collect empirical data the study tries to find answers on how this relationship could be understood. It sets out to explore how these institutions can comprehend the complicated notion of the concept that constitutes artists’ books. A material that has intrinsic dualities as it is both works of visual art and publications. Ideas around digitalization, exhibiting practices, accessibility, preservation, and knowledge organization are discussed out of their relevance and influence on the library/artists’ books relationship. Further the study research if it´s possible to define what constitutes an artists’ book, alternative terminologies and the institutional ambivalence connected to these kinds of work. To analyze the empirical data the study makes use of ideas and theories on how to understand the notion of genre and Nelson Goodman’s thoughts about allography and autography and their possible usefulness and relevance connected to artists’ books. The study ends with a discussion rather than firm conclusions. This discussion evolves around the possible advantages of a polyphonic understanding of what an artists’ book is among GLAM- institutions and how these institutions’ different missions affect the understanding and handling of artists’ books. Further the study put forward the possible benefits of developing joint platforms for digitalization and how this could improve the individual institutions’ capacity in their handling and understanding of artists’ books.