In the preceding chapters, we have repeatedly used the term ‘modernism’ and occasionally the term ‘postmodernism’. We have also referred to ‘structuralism’, occasionally to ‘post-structuralism’, and in particular to the ‘thinking of difference’. In this introduction, I will first elucidate the term ‘postmodernism’. Next, it will become clear that ‘poststructuralism’, which is used as an overall term for ‘postmodern thinking’, has not only brought forth the ‘thinking of difference’ (Lyotard and Derrida), but also a ‘thinking of indifference’ (Baudrillard and Jameson). This internal development will also be reflected throughout the chapter. So what does ‘postmodernism’ mean? Hegel's description of post-romantic art looks suspiciously like the present understanding of postmodernism. This is an interesting observation. And though his thesis on the end of art is mainly related to modernism, Danto emphasized that artists in the period of “art after the end of art” could try out virtually everything, reminding us of the new freedom which was so characteristic for the postmodern condition. In the above neo-Marxist discussions, we were confronted in particular with the contrast between realism and modernism. Whereas Lukács wanted to return to the realism that preceded modernism, Adorno turned into a staunch defender of modernism. Even though Adorno did not write about postmodernism as such — the term was not yet in use — his strong resistance against the culture industry and mass culture indicates that he would not have had much faith in postmodernism. In any case, it was not until after his death in 1971 that postmodernism was firmly established.