Post-critical pedagogy, which offers a significant alternative to the dominant trends in contemporary philosophy of education, objects to seeing education as instrumental to other ends: it attempts to conceive of education as "autotelic," namely as having intrinsic value. While there are good reasons for accepting the post-critical reservations with the instrumentalization of education, I argue that its autonomy is equally problematic, as it risks turning the philosophy of education--perhaps education itself--into a privileged activity, out of touch with the most important issues in the contemporary world. In this paper I offer post-critical pedagogy a way out of this dilemma, by drawing on Walter Benjamin's essay "The Work of Art in the Age of Its Technological Reproducibility". After presenting the thesis concerning the autonomy of art held by Benjamin's Frankfurt School friends, and pointing to the similarity between their view and that of post-critical pedagogy, I articulate six Benjaminian theses on post-critical pedagogy. Following Benjamin's claim that the technological reproducibility of art changes the way it is perceived as well as its political function, I argue that school is an educational technology that reproduces the world to the masses without an "aura", in a way that allows for political critique that does not reduce education to politics. Next, I highlight the importance of the school to post-critical pedagogy, and contribute to developing the critical-political aspect that remains essential to post-critical pedagogy. Finally, the Benjaminian perspective also makes it possible to reflect on the relation of digital technologies of reproduction to post-critical pedagogy.