Giorgio Agamben is, nowadays, one of the most intriguing thinkers. In a great extent of his philosophical essays he exploits the exceptional signification of Auschwitz for the understanding of our clarified modernity, and whose signification Adorno was one of the first to accuse. Under the background of such thematic convergence which is between the two thinkers, here we evaluate Agamben's criticisms of Adorno's philosophy. Would it be fair to condemn the Adornian negative dialectics because it could not get rid of the idealistic tendency of Hegelian dialectics? Would it be fair to censor it for having succumbed to a sort of aesthetic bias of messianism, as Agamben claims? Such questions are answered in defense of Adorno.
Dialectics; Image; Messianism; Adorno; Giorgio Agamben