This article is adapted from "The Handbook of Research and Policy in Art Education," Elliot Eisner and Michael Day (Eds.) [c] Lawrence Erlbaum and Associates, Mahwah, NJ 2004. The author contends that two fundamental premises drive arts education advocacy as it is currently coined and circulated. The first premise is that all arts programming is educational. The second is that most everyone involved in arts programming is considered to be an educator in the arts. As one ponders the political presence and interests of all of the various players engaged in arts education advocacy, it is important to be mindful that the purpose of the types of advocacy is to influence policy, attain position, define programs, and redirect funding. (Contains 15 endnotes.)