  The priority of import also informs Adorno's stance on art and politics, which derives from debates with Lukács, Benjamin, and Bertolt Brecht in the 1930s (Lunn 1982; Zuidervaart 1991, 28–43). Because of the shift in capitalism's structure, and because of Adorno's own complex emphasis on (modern) art's autonomy, he doubts both the effectiveness and the legitimacy of tendentious, agitative, or deliberately consciousness-raising art. Yet he does see politically engaged art as a partial corrective to the bankrupt aestheticism of much mainstream art.  Under the conditions of late capitalism, the best art, and politically the most effective, so thoroughly works out its own internal contradictions that the hidden contradictions in society can no longer be ignored. The plays of Samuel Beckett, to whom Adorno had intended to dedicate Aesthetic Theory, are emblematic in that regard.  Adorno finds them more true than many other artworks.