Approaches to education, knowledge and aesthetics are reviewed in order to discuss the role of art in union member education, distinguishing between insurgent art linked to oppositional political projects and dominant forms of Art Proper. Art is observed in terms of both production and consumption, drawing on psychologist Jerome Bruner's notion of knowing for the "right" and "left" hand and cultural-historical approaches to learning. It is argued that labor-based art is an important mediator for expanding labor education and activist development. To illustrate the ideas, a brief case study of a union-based arts production with school custodians in Canada is outlined. For all one's conviction that the world should be open to knowing, there are certain forms of knowledge that one fears. So it is with the subject of art.-Jerome Bruner (1962, 59) In a book written over four decades ago entitled On Knowing: Essays for the Left Hand, Harvard psychologist Jerome Bruner begins with a metaphor that I borrow here to start a discussion of what art has to offer labor education. The metaphor is rooted in the symbols of the right and left hands as two different types of knowing. The right hand is seen as a symbol of planned action, order, rationality, laws, and science. The left hand is a symbol of the dreamer, intuition, passion, and, Bruner adds, art. Bruner continues to say that the two hands, in fact, need each other; if the two are separated the full development of knowledge will be limited, and so will our ability to understand the processes that underlie it. Here I will add that this separation does not help our thinking about the future of labor education, either.