The intention of this article is to illuminate art as an adaptive tool in the sociological and psychological processes of rebellion and liberation and to illustrate that the inevitable function of art is to reveal, while illustrating the importance of art in everyday life. What are the roles of art in rebellion and liberation? Are these roles similar in nature and scale from person to person and why is this important? These are the questions that, once answered, will achieve the objective of this article. The evolutionary advantage of creativity manifests itself early on in the form of decorative body art. Art is creation, not to say that all creation is necessarily art. The seed of creation is thought. “To think is first of all to create a world (Camus, The Myth of Sisyphus and other essays, 1955, p. 99). » The creative process is undoubtedly psychological and therefore ultimately rooted in the physiology of the human body. The human psyche is confronted with a duality and it is in this that psychology, art, rebellion and liberation merge. These intimate relationships, in ways and means that will be discussed later, give art the inevitable function of revelation. Art is a versatile tool, with many potential functions, that remains vital to the individual and society. Enjoyment of creativity and appreciation of color arose before hominin in human evolution, according to evidence described in a Journal of Anatomy article by Gillian M. Morriss-Kay titled "The Evolution of human artistic creativity. The consideration of art in human evolution aims here to illustrate the historical significance of art and it is inseparable from human biology and not to attempt a rigorous reduction of art to physiology...... . middle of paper ..... .al selection to, for lack of a better word, elevate these conditions. Rebellion does not always lead to liberation, but one cannot move from slavery to freedom without rebellion. How can art liberate? The artist, by rebelling against chaos, or rigidity, imposes his will, through a work, on the world. This force of will is a declaration of liberation. The artist attempts to free herself from the world in which she both rejects and concedes (1956, 253). But, as illustrated previously, there is no hope of actually achieving this goal. Works Cited Camus, A. (1955). The Myth of Sisyphus and Other Essays. (J. O'Brien, Trans.) New York: Vintage Interantional. Camus, A. (1956). The Rebel, an essay on the man in revolt. (A. Bower, Trans.) New York: Vintage International. Jung, C. (1976). The portable Jung. (J. Campell, ed., and R. Hull, trans.) New York: Penguin Books.