The article takes the notion of society of the spectacle, given by Debord and interrogated abouttheir political functionality, particularly at the prospect that the art is an emancipating or liberatingexperience, that allows to put in check the spectacle as aesthetic form. For this, assumes the idea ofspectacle in dialogue critical with the perspective proposed by Rancière and Jauss. Firstly, as regards thereleasing ability of aesthetic experience, and secondly, with regard to the possibilities of the spectator, asemancipated spectator.