This dissertation research takes a post-structural, reconceptualist approach to the study of art education to examine children’s art practices that dissociate from socially constructed accounts of children’s art and lives, especially those which seek to compartmentalize the child, children, and children’s art making. The theoretical orientation of this study is grounded in the work of French philosopher Jacques Rancière—namely, the distribution of the sensible, ignorance, politics, and aesthetics—among others, to explore what kinds of knowledge and values related to children’s art gets to be visible or invisible, sayable or unsayable, audible or inaudible, legible or illegible, to the extent that such existing frameworks police children’s everyday practices. These partitions are, in fact, perceivable through children’s demonstration of what they assume adults expect of their works and behavior, which exist as haunting ghosts, continuously visiting and revisiting the social lives of children thus reminding us of what is expected from and assigned to their bodies. In this regard, one of the main questions my dissertation raises is: How do adults understand children’s art making, and in what ways have these understandings partitioned (or not) children and their art making experiences?