An ontological explanation for judgment explicates its logical basis. Instead of arbitrarily generating feelings of intellectual ecstasy predicated on anything, the faculty of judgment inextricably links itself to this higher natural power endemic to humanity. Even if the catalyst for beauty varies, the “free play” enabled by experiencing “purposiveness without purpose” reflects upon the general conditions present in application of concepts without any governing rules. 
Kant’s theory of aesthetics extends its valuable contribution to fields of morality and politics indicate further practicality, providing a basis for other fields outside the vacuum of philosophy. The sui generis approach to representation inspired the ‘art for art’s sake’ camp, or abstract art that relies on his self-justifying doctrine. Kant also advanced another theory regarding the creation of beautiful art: the “genius” needed to produce such objects. The possession of genius “is a talent for producing that for which no determinate rule can be given,” or the construction of original, self-arbiting works that disregard rules previously necessary for representation. Genius’ ability to tap into the a priori institution itself defines it as something exceptional -- a perfect human able to freely access consciousness, unable to be questioned or rebuked. 
Genius and sui generis art however have been attributed to more insidious uses. Whereas Kant’s liberal optimism placed these two ideas in a positive light for their unifying properties, Marxist critics denounce the implications an undeniable genius or self-justifying object grants. These two axioms’ negative association arises from the pre / post-WWII era, in which the rise of fascism in Europe saw the incorporation of both these philosophical pretexts to validate its ideology. 
Walter Benjamin’s The Work of Art in the Age of Mechanical Reproduction rebukes these concepts fully. Benjamin focuses on the death of the ‘aura,’ or individuality of art in the presence of infinite reproducibility. Art’s cult status, the aura which demands aesthetic authority in its uniqueness, has to him been removed from its ritualistic roots and exclusivity through mechanical reproduction. The “democratization” of art encourages individual interpretation and eliminates the authority in artwork; art is subservient the political life, and acts under its critique than for its own sake or for political aestheticism. 
“Arts for art's sake” directly opposes Benjamin’s theory of art’s function. Instead of being democratized or an expression of political life, art becomes authoritative and a training mechanism for fascism. Unconditional acceptance of the ‘beautiful’ or ‘aura’ of a representation depoliticizes art, and forces those viewing it to affirm its undeniability and metaphysical validity. The sanguine universality expressed by Kant turns obedient to the state employing it. The authoritarian nature of fascism desires unconditional acceptance; likening itself to abstract self-justifying art and instilling public submissiveness to its ideals, fascism values artistic representation as a trump card in its takeover of public affairs. Obeisance towards the state is eased through its association with artistic beauty.
