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The article explores the methodological challenges encountered when translating anthropological research with artists living with physical and / or mental disabilities1 into practice. The research2 for this article was carried out in four artist studios for mentally and / or physically disadvantaged artists in Switzerland. These ateliers claim to provide professional assistance and artistic promotion for the artists. In order to attain a better understanding of the roles of these art studios, four spheres of interest have been identifi ed: i) the functioning of the atelier, ii) the artworks and their circulation, iii) the participants’ artistic career, and fi nally iii) the artists’ self-conception. The research adopts an interactionist perspective, which assumes that art itself results from collective production, also referred to as ‹artifi cation› (Heinich & Shapiro 2012)3. Hence, the key question reads as follows: in what way can these studios be referred to as «live art worlds»4 (Becker 2010)? Participant observation (DeWalt & DeWalt 2002; Silverman 2010) was the primary research method used in the early stage of research. However, after the fi rst set of data analysis and refl ection we realized that in order to pay appropriate respect to the informants in question we needed a specifi c method designed for this purpose. Thus, we selected and implemented the socalled «go-along» method (see Kusenbach 2003; Carpiano 2009). A key assumption was that this method is less rigid in nature than a conventional interview. As people with disabilities are characterized by limited communication skills, personal interaction during bodily movement, such as during walking, may represent a fruitful method for gathering relevant information. As for any other method, the application of the «go-along» method has its advantages as well as its restrictions. The objective of this article is to discuss the

"Go-Along" Method in Anthropological Research with Artists with Disabilities