Abstract

The truth potential of art is realized not only by great art (of educated elites) but also by the cultural industry that has become the art of the masses. Great art and cultural industry do not only contradict one another but often interpenetrate and overlap subversively. Especially in critical periods of crisis (and revolution) great art and cultural industry go together with political action. However, in more counterrevolutionary periods as nowadays post-truth democracy, Adorno's gloomiest interpretation of the cultural industry becomes topical again.