The Italian philosopher Giorgio Agamben is known for his interest in the problem of "biopower," arguing that political political and philosophical questions of the moment concern the connections between life and power. He is diametrically opposed to Alain Badiou, a leading French intellectual, for whom the central question concerns not so much power and the body as it is the ethics of truth. Agamben argues that Badiou's project has abandoned thinking about the biopolitics of life, rendering it both philosophically and politically suspect. The author argues in this article that Alain Badiou must be read within and not against a biopolitical framework to realize both the validity of Giorgio Agamben's criticism and its limitations. It is through the critical lens of biopolitical theory that we can begin to see the unique links in Badiou's thinking between aesthetics, the body, and education. The argument maintained by the author is that Agamben provides insights missed by Badiou's reduction of the animal body to the disavowed grounds for the grace and beauty of truth, while at the same time Badiou provides Agamben's own theory of biopolitics with a unique educative practice: the practice of dance. In this article, author intends to provide a new reason for advocating the centrality of dance in educational programs and assert the inherently educative qualities of movement-based curricula. He also suggests that dance is an important form of educational practice antithetical to current forms of capitalist "bioproduction," and as such, he links together his own theory of dance education with the critical pedagogical tradition in order to anchor the "utopian imagination" in a practice of the body. Overall, this article combines two important philosophical traditions --- Agamben's biopolitical theory and Badiou's theory of truth --- to examine their relation to education and, in turn, how education is a central concept for thinking through contemporary continental philosophical traditions. (Contains 41 notes.)