Both Argued That This Integration Could Not Be Achieved If Artists Were

Both argued that this integration could not be achieved if artists were allowed to participate. Art should be kept apolitical and protected, in a realm conducive to calm reflection that might remind us of the truth an authentic life can afford us after the revolution.
So, although they expressed their rejection of this view in different ways, the Dadaists, Surrealists and Situationists all aspired to a collapse of the distinction between art and the rest of life in present: everyday life. Instead of waiting for the revolution, all three argued that the integration of art and life was in fact necessary for the achievement of revolution, a revolution made possible only by a combined cultural, ideological and economic assault on capitalism. Asger Jorn, again, on the failure of the socialist revolution,
The capitalist revolution was essentially a socialization of consumption. Capitalist industrialization brought humanity a socialization as profound as the socialization proposed by the socialists - that of the means of production. The socialist revolution is the fulfillment of the capitalist revolution. The one element removed from the capitalist system is saving, because consumption's richness has already been eliminated by the capitalists themselves Real communism will be the leap into the domain of freedom and of value, of communication. Contrary to utilitarian value (normally known as material value), artistic value is the progressive value because, by a process of provocation, it is the valorization of humanity itself.
Since Marx, economic politics has shown its impotence and its cowardice. A hyperpolitics will need to strive for the direct realization of humanity.

Walter Benjamin's authentic opposition: the Crisis of Reproduction
Walter Benjamin is probably Adorno's most established opponent, particularly since "The Work of Art in the Age of Mechanical Reproduction", a work that concentrated upon defining the 'aura' of traditional art preceding 1900, and assessed the decay of this aura under the impact of new media and cultural technologies. Benjamin argues that art has lost its "authenticity" because of mechanical mass reproduction in our capitalist-orientated culture industry. He is concerned about shifting attitudes to art, which came about as a consequence of the introduction of mechanical means of reproduction.
"Formerly unique objects, located in a particular space, lost their singularity as they became accessible to many people in diverse places. Lost too was the 'aura' that was attached to a work of Art which was now open to many different readings and interpretations"
Unlike his Frankfurt School colleagues, however, and especially unlike Adorno, Benjamin argues, this loss of authenticity is actually a positive thing, because it democratizes and politicizes art.