Jacques Rancière's work has become a major reference point for discussions of art and politics. However, while Rancière's negative theses (about what "political art" is not) are becoming widespread and well understood, his positive thesis is still poorly understood, owing partly to Rancière's own formulation of the issue. I first clarify Rancière's account of the links between politics and art. I then explore a gap in this account; Rancière has stuck too closely to a politics of art's reception. I argue for a politics of art production, which would expand the possible engagement between politics and art.