ABSTRACT
This article attempts to assess the interventionist power of Warren Montag's recent Louis Althusser by examining its fundamental project: the formulation of a "materialist aesthetics." It discusses the conceptual and historical articulation of the notions of art and materiality in light of the "end of art" and the recent introduction of the term "immaterial" in some marxist discourses. It argues that Montag's book represents a necessary reevaluation of the notion of time in marxism, a transformation made possible through a foregrounding of the generally overlooked writings of Althusser (and Macherey) on theater, painting, and literature.
