  Arguably, the idea of “truth content” (Wahrheitsgehalt) is the pivotal center around which all the concentric circles of Adorno's aesthetics turn (Zuidervaart 1991; Wellmer 1991, 1–35 ; Jarvis 1998, 90–123). To gain access to this center, one must temporarily suspend standard theories about the nature of truth (whether as correspondence, coherence, or pragmatic success) and allow for artistic truth to be dialectical, disclosive, and nonpropositional. According to Adorno, each artwork has its own import (Gehalt) by virtue of an internal dialectic between content (Inhalt) and form (Form). This import invites critical judgments about its truth or falsity. To do justice to the artwork and its import, such critical judgments need to grasp both the artwork's complex internal dynamics and the dynamics of the sociohistorical totality to which the artwork belongs. The artwork has an internal truth content to the extent that the artwork's import can be found internally and externally either true or false. Such truth content is not a metaphysical idea or essence hovering outside the artwork. But neither is it a merely human construct. It is historical but not arbitrary; nonpropositional, yet calling for propositional claims to be made about it; utopian in its reach, yet firmly tied to specific societal conditions. Truth content is the way in which an artwork simultaneously challenges the way things are and suggests how things could be better, but leaves things practically unchanged: “Art has truth as the semblance of the illusionless” (AT 132).