The article explores the problem of form in critical theory. The author argues that the focus on form of theories characteristic for Frankfurt School thinkers required a complementary step, that of rethinking the form of critique itself. Drawing on Walter Benjamin’s theory of constellations, the author examines how the presentation of philosophical content shapes its meaning. This foundational model informs both Benjamin’s further developments and Theodor W. Adorno’s writings. Key works such as The Arcades Project, Minima Moralia, and Essay as Form are analysed for their philosophical forms – quotation, aphorism, and essay. The article argues that these forms reflect critical theory’s response to historical conditions and concludes by addressing their relevance to contemporary academic publishing.
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