This dissertation presents an alternative to think about the political efficacy of art that is distinct from its instrumental use. For this, it is postulated that the connection between the fields of art and politics settles on the experience of the dissensus. Both activities shuffle the plot of sensory experience in which a common world is established, fixed, designed and distributed. The argument is divided into two parts. First, it seeks to recompose an aesthetics of politics – the way is established a space of visibility for the political action and argumentation from political dissent. This is an unpredictable and contingent experience that undoes the usual connections between causes and effects, actions and consequences. Even in the first part, we discuss what is effectively the prospect of emancipation through this understanding of the political phenomenon front totalizing pretensions that characterized the tradition of political philosophy. In the second part, shall be limited the escope of the concerns of aesthetic discipline set in contrast with the conception proposed by Rancière of an aesthetic regime of art. This involves presenting the various regimes that art has been understood in the tradition in analogy with the regulatory regimes of the field of politics. Finally, we discuss an alternative to think about the political effectiveness intrinsic to the aesthetic regime of art that does not lie in the simple attribution of guilt and responsibility that characterizes both the instrumentalization of politics and art.