In a first meaning, compositionism could stand as an alternative to critique (I don’t mean a critique of critique but a reuse of critique; not an even more critical critique but rather critique sold second hand —if I dare say— and put to different use). Even though the word “composition” is a bit too long and windy, what is nice is that it underlines that things have to be put together (Latin componere) while retaining their heterogeneity. Also, it is connected with composure; it has a clear root in art, painting, music, theater, dance, and thus is associated with choreography and scenography; it is not too far from “compromise” and “compromising” retaining with it a certain diplomatic and prudential flavor. (...) Above all, a composition can fail and thus retain what is most important in the notion of constructivism (a label which I could have used as well, had it not been already taken by art history). It thus draws attention away from the irrelevant difference between what is constructed and what is not constructed, toward the composed. What is to be composed may, at any point, be decomposed. In other words, compositionism takes up the task of searching for universality but without believing that this universality is already there, waiting to be unveiled and discovered. Could Compositionism be another way to establish a connection betweet Art and Politics? Reflexions around the Making Things Public exhibition, the creation of the School of Political Arts at Sciences Po and the Compositionist Manifesto