If we understand “weakening” as an aesthetic strategy, then it aims less at undermining power, resisting domination, or subverting hegemony; in the arts, weakness is emphasised more in its sensual, bodily, or existential dimensions. Nobody can deny their own vulnerability, sensitivity, and dependence on others as well as and on the environment and its infrastructures. Unlike fields such as politics or law, the arts do not respond to this fundamental weakness with strategies for overcoming it, calls for protection, or forms of empowerment. The artistic use of weakness lies much more in its radicalisation. This way of using weakness is radical in two ways: on the one hand, because of its fundamental nature in the experience of powerlessness, uncertainty, and fragility at the root of artistic processes, and on the other hand, because in the arts, weakness is not overcome and transformed into strength, but exposed and sometimes even amplified. Weakness is radicalised to explore the capacities that are inherent to it.