The relation between the digital and physical features of 3D printing enhances the current hype about this medium. In For the Common Good, a group of objects are selected from Thingiverse, the world’s most popular website for sharing creative commons of 3D files. They exist in a grey zone, a disputed border which questions what objects can be shared and produced. A video features the artist as an anonymous performer with this selection of ambiguous objects. By viewing the physically printed objects and the video, the work requires us to reconsider the cognitive relationship with objects.