从这一章开始,贝尔廷的论述开始慢慢深入到战后艺术史形态与现代主义意识形态的常规化和悖谬化的具体关系、与国家意识形态、理论建构、媒体、大众、乃至新博物馆学的讨论中。本章用两个展览带出了现代主义艺术发展的一段史中史,即二战引发的现代主义艺术、艺术批评和艺术史写作的中断(如果不考虑纳粹时期的一些哲学家和理论家为纳粹辩护或者为纳粹利用所进行的一些理论挖掘)。阿多诺 Beginning with this chapter, Beltin’s discourse began to slowly move deeper into the concrete relationship between the post-war history of art and the conventionalization and absurdization of modernist ideology. Unlike the ideology of the state, the construction of theory, the media, the general public, and even the new museum Learn the discussion. This chapter uses two exhibitions to bring out the history of the development of modernist art: the interruption of the modernist art, the criticism of art and the writing of art history triggered by World War II (if Nazi philosophers and theorists were not taken into account in the defense of the Nazis Or some theoretical mining for Nazi use). Adorno