When analyzing the Tunisian Revolution through an aesthetic lens – beyond the prevailing focus on regimes and states in political theory – the premonitory and subversive agency of the artistic sphere since the 2000’s becomes visible. As stated by Frantz Fanon, an attentive reader can sense and even see the next battle, manifested in rituals, ceremonies an artistic creation. Not only tech-savvy hip-hopping youth dared to take a subtle stance against oppressive power relations. Some of the last productions of the New Tunisian Cinema or the New Theater of Tunis were to a certain extent premonitory of the Tunisian Revolution. This subversion emerged during the liberation phase of the revolution as an important mediator of the fundamental changes the country was going through. Aesthetic subversion produced new ways of seeing the political situation by engaging in revolutionary dynamics. Different attacks by Islamic militants against artistic creations or artists themselves consequently provoked a national debate on the tension between the newly regained (artistic) liberty and the limits of the sacred in Tunisian society. Based on ethnographic research, participant observation and interviews, I will argue that the cultural and artistic sphere did not lose its revolutionary practices and ideas, even though it was deeply influenced by the secular-Islamist fault line that defined the political in post Ben-Ali Tunisia.