Postmodern aesthetic production is wired directly into commodity production.

Evidence

Such economic necessities then find recognition in the varied kinds of institutional support available for the newer art, from foundations and grants to museums and other forms of patronage. Of all the arts, architecture is the closest constitutively to the economic, with which, in the form of commissions and land values, it has a virtually unmediated relationship. It will therefore not be surprising to find the extraordinary flowering of the new postmodern architecture grounded in the patronage of multinational business, whose expansion and development is strictly contemporaneous with it. … Yet this is the point at which I must remind the reader of the obvious; namely, that this whole global, yet American, postmodern culture is the internal and superstructural expression of a whole new wave of American military and economic domination throughout the world: in this sense, as throughout class history, the underside of culture is blood, torture, death, and terror. — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 44

Categorization

• DEFINE: Establishes the meaning of ‘aesthetic production integrated into commodity production’ via architecture’s unmediated ties to commissions and land values.
• XREF: The ‘underside of culture is blood, torture, death, and terror’ resonates with the core doctrine of the reader’s own world-cognitive mapping project — culture as superstructural expression of global domination. — connects to: The commodity form’s ersion of labor extends into art itself — Fredric Jameson, Marxism and Form, 777