For the last 20 years, many mobilizations related to the contract work system that is subsidized by the general unemployment insurance system have occurred in various French artistic fields, mainly in the performing arts. They are characterized by an intense politicization which can be explained by the role of the state in these fields. On the one hand, state intervention suspends the rules of the market economy. On the other hand, the state is one of the main users of the unemployment insurance system which externalizes labor costs. Politicization is also based on the limited resources of the mobilized groups. Thus, these groups promote permanent media coverage of their fights in order to force the political leaders to speak out in their support. Politicization has also led these groups to try to destroy the political capital of some Ministers of Culture. In conclusion, the present work emphasizes that the artists' demand for the state, which relies on the will to increase aesthetic autonomy, may eventually lead to the opposite situation, the artists becoming dependent on political constraints they do not master.Since the beginning of the 1980s, one of the main factors which have contributed to the development of cultural policies and the provision of culture in France has been the contract work system as defined by appendixes VIII and X of the general unemployment insurance system (UNEDIC). The professionals concerned fall within a special legal system that escapes from the Int J Polit Cult Soc (2010) 23:113-126