This chapter examines two forms of practice that communicate messages from a group or individual to the public, cultural production and political public speaking in light of Marxist cultural theories. Examining the writings on the practice of art by Marxist thinkers of the mid-20th century makes one thing clear: the aesthetic expressions of artists and cultural figures play a role in political and social discourse, and the importance of this role in the context of the struggle of class must be not be ignored. The role of aesthetics as seen by Marxist theorists such as Adorno and Horkheimer is to educate and inspire the public to live a life more worth living. (Adorno, 2006, p. 39) This chapter argues that cultural workers have a responsibility to encourage audiences to address their own social and political conflicts. Two methods for taking on this responsibility are discussed. The first is the assertion that a political message in a work of art must be communicated without attempting to create an emotional anchor with which the audience can identify. This method, mainly exposed by Brecht, sees the political message as the most important aspect of the work; therefore it is essential that the public receives it and does not get distracted. The second approach, as envisaged by Lukács, advocates a representation of reality that allows the public to relate and identify with political messages. In this concept emotional connection is presented as essential for the successful transmission of an idea, as humans relate more easily to topics to which they can connect emotionally. These two methods are discussed in the chapter on conveying political messages through aesthetics, not strictly in the art world, but also... middle of paper... even art that is popular and enjoyable, not only art that has a politically "correct" line. Indeed, to be politically correct, art must be enjoyable and accessible.' (Lovell, 1980, p. 77)Brecht saw art as a verb. He saw a social revolution as inevitable and believed that art should be more than a statement of the current state of affairs. The role of the artist is to bring about social change by pushing the audience towards a process of critical thinking, and this is achieved by producing works that are bold, experimental and confrontational, not only in subject matter but also in form. Brecht viewed the existing form of artistic practice as supporting the social status quo rather than revolution. He developed his model of epic theater following his analysis of bourgeois theater and identifying the elements of this form that did not convey sufficiently revolutionary messages.