Since the 1960s, important positions and movements in art were understood as “political” and “critical” towards art institutions and social power relations. This also includes many artists who work with advanced technologies. Meanwhile the art system has differentiated further. Today political content does not stand in the way of a successful career; quite on the contrary, it is ever more often part of a strategic positioning in the market. How did that happen, and what can critique mean in art practice today? How they must start in order not to be subject to the pervasive logic of utilization of difference? Panel debate with Marko Peljhan, Mediengruppe Bitnik and Marion Hamm