In pre-Renaissance times the suite of practices we now call art were simply a minor set within the larger set of all skilful and practical operations. Subsequently it was imbued with the spirit of 'good': as good for nation and community formation; for learning and being; for healing the hurt and the broken; and for arresting the worst instances of injustice and abuse. But alongside this are contradictory articulations - of art for arts sake as elitist. In this paper we explore the plurality and polyvocality of art to consider how it might be mobilised to protect and preserve human rights.