As the reading of Reiner Maria Rilke’s poem “Archaic Torso of Apollo” shows, the power of art resides in instigating a radical change in the lives of its viewers. As described in the poem, the truncated torso of Apollo’s statue—which Rilke supposedly encountered in his visit to the Louvre—is teaming with life, while possessing a gaze that glides down from the absent head to the body center. This gaze is of a particular kind, having the ability to see and be seen simultaneously, thus problematizing the traditional dichotomy of vision and visibility. The statue does not only see but also speaks: “You must change your life.” This saying should not be taken as a mere suggestion, but rather, as an ethical command in the Levinasian sense, i.e., as an unconditional call of the Other. In this way, the statue’s call assumes a dialogical dimension. As such, the call assumes an interpellative dimension as well: the event of interpellation is displaced from the political sphere to the aesthetic sphere, as it does not take place in encountering a delegate of the law—as Althusser would have it—but rather, in encountering a work of art. Moreover, the event of aesthetic interpellation does not lead to the turning of an individual into a law-abiding subject. Rather, it leads to the constitution of a disrupted subject who bears witness to the event.