In the city of Fortaleza, urban art, in its different expressions, presents promising scenarios and, at the same time, many contrasts. If on the one hand the city lives with the absence of cultural policies in forgotten neighborhoods and "off" the map, on the other I see the rise of an urban art festival that directs attention to a more concentrated performance in routes around conventional art spaces. I thus realize the need for more comprehensive cultural policies that make these neighborhoods, their histories and memories visible so that they do not fall into oblivion. Considering that all spheres of social life are composed of power relations and, in this study, having as reference the concepts of microphysics of power and discourse analysis (FOUCAULT, 1998, 1996) I question how these relations happen for the urban artistic performance in the Concrete Festival.