The restoration of the aesthetic to a central position in the study of the arts has been among the most exciting critical developments of recent years. Critics have made diverse claims on behalf of aesthetics, among which we might discern two widely shared themes. First, aesthetic education constitutes not a retreat from politics but a means of contesting the neoliberal hegemony of the market. Second, critics’ emphasis on aesthetics’ political potential is matched by an unprecedented refusal of aesthetic judgment. On the surface these two tendencies appear complementary: the internal refusal of a hierarchy of aesthetic valuematches the external refusal ofmarket value. And it is true that for our political imagination, animated by themaster value of equality, aesthetic hierarchy has become indefensible. I will argue, however, that the elision of judgment—which I understand minimally as the claim that a given work has aesthetic value not just for me but for everyone—disables aesthetic education’s political potential.

中文翻译：

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判断与平等

将美学恢复到艺术研究的中心地位是近年来最令人兴奋的批判性发展之一。评论家代表美学提出了不同的主张，其中我们可以看出两个广泛共享的主题。首先，美育不是政治的退却，而是对抗新自由主义市场霸权的手段。其次，批评家对美学政治潜力的强调与对美学判断的前所未有的拒绝相匹配。从表面上看，这两种倾向似乎是互补的：审美价值等级的内部拒绝与市场价值的外部拒绝相匹配。的确，对于我们的政治想象力来说，在平等的主要价值的推动下，审美等级已经变得站不住脚了。然而，我会争辩说，