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Form, Utopia, and Feminist Performance Art: Toward a Rehabilitation of Adorno's Aesthetic Theory

Despite the emphasis on concrete, contemporary phenomena in Theodor Adorno's work, attempts to understand current social objects in terms of his aesthetic and social theory are surprisingly sparse within Adorno scholarship. This omission may in part be the result of ambivalences in his work that invite critics to focus on his negativism, his reluctance to endorse political praxis, his valorization of the artistic norms of high modernism, and his pessimistic conclusions concerning late capitalism's inevitable culmination, via the culture industry, in a "totally administered society."² Such themes are no doubt inhospitable to contemporary tendencies in social and cultural criticism, and...