National audience for Lipovetski and Serroy (2013), we are entering the age of artist capitalism, where competitiveness is played in the field of sentient, feelings and exacerbated creativity. Cities, which are also competing, adopt management similar to large companies and participate in this global aesthetisation movement. That article asks whether the latter would not be the imposition of an order in the city to the exclusion of any other. Following an ethnographic approach geared to the influence, a case study in the city of Belo Horizonte (Brazil) contrasts two aesthetic experiences: the city theatre, where the staging of space promotes the calm, luxury and steep centre conducive to consumption; that of battles of MCS diverting a disused space to restrain it from mobilising and contesting influence. The survey shows that the aesthetics promoted by urban policy require scrutiny, selective listening to certain voices, occupation of space, movement of borders where the public no longer opposes both private and common interests, and finally an order from which any movement is excluded. Our contributions are to take a fresh look at the effects of the adoption of corporate management in public action and to show first of all that there are counter-aesthetics movements, what we call a sensitive guerrilla; secondly, that these movements are areas of elimination sought as such; thirdly, the political issues involved in this aesthetisation of the world, particularly in the urban context. We conclude on the need for more aesthetic research to understand the scope of private management employment in urban management.