There is an irreconcilable difference between art and culture, and so art must needs defend itself against culture and its imperatives. He is an artist who engenders a conception of art that has never yet existed in this precise form. The only works of art that count are those that, rather than inscribing themselves upon an instituted conception of art, generate a conception to oppose it. The task is always to open up, in the dynamism of production, toward an as yet indeterminate conception of art; it is never the execution of a program that takes its orientation from fixed norms. “In truth,” Theodor W. Adorno says, works of art are “force fields that enact the conflict between the norm imposed upon them and that which seeks expression in them. The higher they rank, the more energetically do they fight this conflict out, often renouncing affirmative accomplishment.” The work of art articulates the conflict between what already exists and the new such that the work appears as the stage of an enactment of difference in which the established conception of art encounters an objection. At the same time, we must understand that a clear separation between what exists and the new remains a challenge that cannot be met: “Even the category of the new, which in the artwork represents what has yet to exist and that whereby the work transcends the given, bears the scar of the ever-same underneath the constantly new. Consciousness, fettered to this day, has not gained mastery over the new, not even in the image: Consciousness dreams of the new but is not able to dream the new itself” (Theodor. W. Adorno).