[1]Adorno, Theodor W., Aesthetic Theory, London 1997, Newly translated, edited and with a translator’s introduction by Robert Hullot-Kentor, p. 31 ff.

[2] “Cultural criticism finds itself faced with the final stage of the dialectic of culture and barbarism. To write poetry after Auschwitz is barbaric, and this corrodes even the knowledge of why it has become impossible to write poetry today.” Adorno, Kuturkritik I, p. 30, transl by Elaine Martin in: Re-reading Adorno: The ‘after-Auschwitz’ Aporia.
In: http://forum.llc.ed.ac.uk/issue2/martin.html

[3]“By emphatically separating themselves from the empirical world, their other, they bear witness that that world itself should be other than it is; they are the unconscious schemata of that world’s transformation.” (p. 177)

[4]“Artworks detach themselves from the empirical world and bring forth another world, one opposed to the empirical world as if this other world too were an autonomous entity. Thus, however tragic they appear, artworks tend a priori toward affirmation.” (p. 1)

[5] Frederic Jameson, The Political Unconscious, London 1981

[6]Boris Groys, Über das Neue, München 1992.

[7]S. Frayda Feldman, Jörg Schellmann, Andy Warhol Prints, A Catalogue Raisoné, New York 1989.