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ability to become a critical and self-critical commodity. And this notion of a self-critical commodity is, of course, utterly paradoxical. The (self-)critical artwork is a para- dox-object that fits perfectly in the dominating paradigm of modern and contemporary art. There is, therefore, nothing to say against this kind of (self-)critical art from within that paradigm-but the question arises if such art can also be understood as truly political art. Of course, everybody who is involved in any kind of art practice or criticism is interested in these questions: Who