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In the face of the effective possibilities of an antagonistic art, from different tribunes certain strategies are privileged and others are dismissed under the accusation of connivance following the logic of the system. That is, some “strong” thoughts are imposed on contemporary critical discourse that want to invalidate other options for struggle in the belief that their own positions would not be subject to the same contradictions they criticize, betting on everything or nothing for certain «ways of doing» that would come to be declared as the only viable strategies. We will review the proposals of Jordi Claramonte and his modal autonomy of an art of context, the strategy of overidentification that Slavoj Žižek defends as the only effective form of antagonism, and we will try to clarify to what extent the criticism of the political art of Jaques Ranciére is accurate.