From J.M. Bernstein, The Fate of Art: Aesthetic Alienation from Kant to Derrida to Adorno.

“Now at the same time as Plato was erecting his theoretical republic, and in order to secure the sovereignty of theory, he expelled the artists. This expulsion and/or marginalisation was unavoidable, for the presence of art, no matter how construed, institutes a three fold departure from the dominance of theory: because art authorizes unique, individual items it tendentially works against the hierarchy of universal and particular; because art is bound to the life of particulars, it tendentially celebrates the claims of sensuousness and embodiment; because its practices are tendentially governed by the claims of sensuousness and particularity, it instigates an alternative conception of acting, one which binds doing and making, praxis and poises, together.”

“The entwinement of these three departures from theory is art’s instigation of a knowing and a truth outside theoretical knowing and truth. If not completely visible at the beginning of the story, where the reason for art’s expulsion had to do with its being a copy of a copy, a reason wholly internal to the logic of theoretical knowledge. then the development of art provides another insight into art’s suppression, namely its likeness of political knowing and political practice. Art’s suppression, its marginalization and exclusion from truth, occurred as a direct consequence of the suppression of the bio politikos.“