Rancière published two substantial criticisms of the work of Bourdieu in the early 1980s. It is possible that these were provoked by his sense that he needed to oppose what he considered to be the sociological reduction of aesthetic taste offered by Bourdieu in Distinction (Bourdieu 1986 [1979]) at precisely the moment when he (Rancière) was beginning to articulate his commitment to the potential of aesthetic expression as a mode of political resistance. Except in so far as it draws upon some of the retrospective reflections offered by Rancière in his introductions to the re‐issues of his early texts, this paper examines the parallel development of the thinking of the two men up to the mid‐1980s – but not beyond. The discussion is situated socio‐historically and, by definition, does not seek to offer comparatively any transhistorical assessment of the values of the positions adopted by the two men. I argue that Rancière misrepresented the character of Bourdieu's sociological work by failing to recognize the underlying phenomenological orientation of his thinking. Bourdieu suppressed this orientation in the 1960s but, after the May events of 1968, it enabled him to expose the extent to which the practices of both science and art operate within constructed ‘fields’ in strategic distinction from popular primary experience. The challenge is to introduce an ongoing dialogue between primary and constructed cultures rather than to suppose that either social science or art possesses intrinsic autonomy.