Abstract
Theodor Adorno’s Aesthetic Theory illuminates the basic question of the aesthetic claim to truth. Adorno’s text presents key philosophical questions about the nature of aesthetics. Through grounding Adorno’s aesthetic theory in Hegelian logic, this article explicates why and how the veracity of a modern artwork dwells in its claim to the truth of its own untruth. What is the relation between aesthetic truth and the objective truth of empirical reality? Can aesthetic truth disclose the truth of empirical reality? By relating negatively to what Adorno calls the empirical reality, modern artworks not only become identical to their nonidentity, but also present that which they are nonidentical with as their formative ground. If the truth of an object is mediated, aesthetic truth must disclose the degree of objectivity found in empirical reality. Consequently, aesthetic truth becomes for-itself a mediated truth, and aesthetic truth comes to reveal the mediatedness of empirical reality.
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