The first object of critical inquiry is its own conditionality: the impossibility of the unconditional; that is, the impossibility of undisguised freedom or authenticity. When Adorno, in his book on Husserl, insists that “the real life process of society is […] the core of the contents of logic itself,” he insists on how logical (“abstract”) thought is socially communicated—by that, installing a notion of critique that takes thinking seriously only as (self-)critical thinking, which he calls “dialectic.” Later on in his work, Adorno speaks of the “constitutive paradox” of the artwork in being “differentiated from the empirical world, of which it nevertheless remains a part.” The work of art belongs to the empirical-social sphere by demarcating a distance to it. This is the distance to what is present—a critical distance, insofar as it recognizes a danger for art in what is present. Evidently, what belongs to art is a critical distance to the world of established options, evidences, and valences. This is what art accomplishes: to behave critically toward the socio-symbolical reality of facts, without contesting or ignoring its facticity. The artwork participates in this reality, affirming it by eluding its authority by an infinitesimal quantum.