  Adorno regards authentic works of (modern) art as social monads. The unavoidable tensions within them express unavoidable conflicts within the larger sociohistorical process from which they arise and to which they belong. These tensions enter the artwork through the artist's struggle with sociohistorically laden materials, and they call forth conflicting interpretations, many of which misread either the work-internal tensions or their connection to conflicts in society as a whole. Adorno sees all of these tensions and conflicts as “contradictions” to be worked through and eventually to be resolved. Their complete resolution, however, would require a transformation in society as a whole, which, given his social theory, does not seem imminent.