This article addresses the human need to create uniquely beautiful things for social sharing, play and to elevate objects above functionality. For that reason we often see ordinary people "making special" in many types of informal settings. A pervasive notion exists among many in the art world and in the general public that making that is for personal pleasure or communal sharing is not special enough to be considered "fine art" unless the making is undergirded by formal art education. As a result, art educators often have undervalued artifacts created in extracurricular contexts by hobbyists or crafters. While art educators were paying little attention to everyday art and crafters, producers of DIY books, products and technologies were raking in profits. This made way for the uprising of the "maker movement" and "maker spaces." Testimonials of maker space users confirm that the experience of learning through open exploration is infinitely more fun than the lectures, drills, and tests that students endure in assessment driven subjects. The author argues that the rise of the maker movement challenges art educators to clarify a role for art education and rethink broadly and deeply about what art is, who makes art, where and why it is made, who teaches art, and how teachers might apply their best art education theories and practices to art making that has meaning and "makes special" in the world.