Matthijs de Bruijne collaborates with trade unions and labor organizations, questioning the role of the artist as well as visual art’s relevance for social struggles. In 1973, Argentine artist Léon Ferrari lectured in Havana about the politically charged Tucumán Arde (Tucumán is Burning) exhibition that took place in Buenos Aires and Rosario in 1968 and reflected on his own participation in it. With artist and co-researcher Cecilia Vallejos, de Bruijne reflects on his collaborations with political groups, in particular the Cleaners Union of the Netherlands Trade Union Confederation (FNV), using Ferrari’s investigation of Tucumán Arde’s mass reception as a lens. Departure points for seminars, workshops, interviews, and a publication that will happen during the research trajectory include: What are the relations between the positions of artist, audience, and visual language in a political movement? How to avoid appropriation while working with social movements? Is it possible to call an artwork “political” within art institutions when using a language that is unreadable outside these institutions?