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From Benjamin’s preface to “The Work of Art in the Age of Mechanical Reproduction”:

The concepts which are introduced into the theory of art in what follows differ from the more familiar terms in that they are completely useless for the purposes of Fascism.

What Benjamin was not saying:

The concepts which are introduced into the theory of art in what follows differ from the more familiar terms in that they are completely useless for the purposes of Fascism, since they are anodyne enough to appeal to the vital center.

The concepts which are introduced into the theory of art in what follows differ from the more familiar terms in that they are completely useless for the purposes of Fascism, as Fascism will not be able to “pin” them on us later in the press.

The concepts which are introduced into the theory of art in what follows differ from the more familiar terms in that they are completely useless for the purposes of Fascism, as they strike a middle ground between radicalism and conscious complicity.

The concepts which are introduced into the theory of art in what follows differ from the more familiar terms in that they are completely useless for the purposes of Fascism, since they avoid the risk of wandering into a scary, dark ideological alley.

The concepts which are introduced into the theory of art in what follows differ from the more familiar terms in that they are completely useless for the purposes of Fascism, since they are the proper utterance of the “reality-based community.”

The concepts which are introduced into the theory of art in what follows differ from the more familiar terms in that they are completely useless for the purposes of Fascism, since, really, Fascism is the wrong word for what we are up against.

Und so weiter…