How is the place of the work within the social field to be determined? How do the production of art, art criticism, art studies, and philosophy relate to one another? Is there a political commission for an artwork? Is art necessarily critical—critical of institutions, the market, ideology? Or does an artwork put certain limits upon criticism and its good conscience, which make of it a risky, necessarily affirmative practice? Does its sense lie in these categories of resistance and subversion invariably associated with the artwork, but also in a self-calming that enables the artist to participate in the political game without genuine commitment, so that political consciousness takes on the function of a depoliticization that has not been admitted? How affirmative must an artwork be in order to be subversive or political?