Artistic labor is framed as a constitutive feedback loop between two contradictory paradigms—utopian, self-valorizing creativity and alienated, exploitative production—each underwriting different claims about what art can do (prefigure liberation vs. unveil false consciousness). Warhol’s “social factory” and Beuys’s “social sculpture” are read as mutually implicated models that expose how contemporary art’s value is simultaneously economic and libidinal, demanding critique beyond political economy to grasp how institutions monetize desire while preserving a remainder of transformative promise.

Diagnoses intra-artistic policing—envy, resentment, opportunism, and gendered disparagement—as a parallel apparatus to state censorship, where symbolic capital (prizes, visibility, institutional access) drives artists to become moral inquisitors and anonymous “snipers” who erase peers through discourse and gatekeeping. Opposes these necropolitical dynamics with solidaristic, alternative infrastructures (Aglutinador and related projects) and reclaims anarchic avant-garde lineages like Proyecto G to argue for plural publics and non-orthodox cultural memory against institutionalized regimes of evaluation and historical legitimation.