Adorno is also accused of a lack of consistency in his claims to be implementing Marxism. Whereas he accepted the classical Marxist analysis of society showing how one class exercises domination over another, he deviated from Marx in his failure to use dialectic as a method to propose ways to change. Marx's theory depended on the willingness of the working class to overthrow the ruling class, but Adorno and Horkheimer postulated that the culture industry has undermined the revolutionary movement. Adorno's idea that the mass of the people are only objects of the culture industry is linked to his feeling that the time when the working class could be the tool of overthrowing capitalism is over. Other critics note that "High culture" too is not exempt from a role in the justification of capitalism. The establishment and reinforcement of elitism is seen by these critics as a key element in the role of such genres as opera and ballet .
We must not be deceived by superficial phenomena and local successes. Picasso's shows still draw crowds, and T. S. Eliot is taught in the universities; the dealers in modernist art are still in business, and the publishers still publish some "difficult" poetry. But the avant-garde itself, already sensing the danger, is becoming more and more timid every day that passes. Academicism and commercialism are appearing in the strangest places. This can mean only one thing: that the avant-garde is becoming unsure of the audience it depends on -- the rich and the cultivated.