Jacques Rancière’s theory of aesthetics concerns what is sensible—that is what is visible, sayable, intelligible, and perceptible in a specific social order. This provides a framework for examining how aesthetic acts by marginalised peoples might reshape their position within society. In this essay, Mia Bock evaluates Jacques Rancière’s claim that aesthetic acts shape experience to create new modes of perception and forms of political subjectivity through a case study of a queer Catholic drag performance. Bock argues that although Rancière successfully demonstrates how aesthetic acts facilitate political subjectivisation through an agent’s enactments of their inherent equality, this does not mean that disruption necessitates a redistribution of the sensible. While aesthetic acts may indeed render excluded subjects visible, they do not always entail new intelligible possibilities. Where marginalised identities are already understood through stereotypes of disruptiveness, aesthetic disruptions may be interpreted as confirming rather than reconfiguring existing modes of perception.