The more we talk about art, the more its manifestations proliferate on the planet; the more a significant economy develops and is present in numerous moments of contemporary social life, the less place seems to exist for a specific discourse of art and about art. Critical discourses appear today in crisis; many artists and other protagonists of the artistic context seem to renounce what is specific in art as experience and transformation of life, while absorbing discourses originated by other disciplines such as philosophy, sociology, anthropology or political studies, for example. It has become necessary and urgent to interrogate the reasons and circumstances behind the disappearance of what exists as particular and unique in the experience of art. It is not about claiming an autonomy of art, to return to Greenberg or the romantic paradigm of art for art, but to understand what the possibilities that making art, or constructing a critical discourse about it, can add to the experience of the contemporary world: to the subversion of its stereotypes, to the extension of the perception of its realities, to the invention of other realities, to possible alternatives to the dominant political and cultural models.