The article presents a case of community art education in Leuven, Belgium. Participants who belong to disenfranchised groups of the local community were invited to engage in artistic actions and performances aiming at familiarising them with modern art practices. Such experiments are often disqualified as being irrelevant to the life-conditions of these families in poverty, and hence as non-emancipatory. In this article, the emancipatory quality of such initiatives is explored with reference to the art practices of the Belgian/Mexican artist Francis Alÿs and the reflections on emancipation by the French philosopher Jacques Rancière. These reflections help to shed a new light on the emancipatory dimension of community art practices and to consider theoretical concepts such as 'poor pedagogy'.