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The educational problem of the arts and the place occupied by the artist cannot be clarified without disentangling the threads in which they are caught. The same is true for preserving the emancipatory perspective of artistic education. This issue is most often approached from the point of view of the school. Yet it is necessary, above all, to see it from the point of view of art and artists. The intervention of the artists themselves in the educational field only takes on its full meaning if it is also considered as an internal development in the field of art itself. The history of modern art intersects that of education and childhood. By situating ourselves at this crossroad, we can understand the artistic approach in its singularity, as it unfolds in what Rancière calls “the aesthetic regime of the arts”, as an educational process. It is then as a provisional ignorant schoolmaster that the artist opens up in school the possibility of heterotopic moments.