In this paper, I interrogate the question of how aesthetics might be used in terms of an antifascist project. The exposition includes two main steps. First, drawing on the work of Umberto Eco and Sven Reichardt, I introduce a perspective on fascism, in which I identify its character as synthetico-paradoxical. Then, I utilize Jacques Rancière’s conception of aesthetics as politics to show how a decentralized understanding of what makes good art can disrupt fascism by appealing to the sense of re-recognition (...) of the individual political subject. (shrink)