The proposal made by Tomás Peters in "Sociology (s) of art and cultural policies" seeks to trace the transformation of the analytical models of the sociology of art. The first is the follow-up of some theoretical clues that will allow us to locate the meaning of art in modernity. By means of Luhmann he constructs a macrohistorical explanation of the differentiation of the artistic system until the constitution of a specific system in modernity, and then, in the light of the Adorno-Benjamin dialectic, he concentrates on the contradictions of the artistic experience in the modern world. The reflection continues from Howard S. Becker and Pierre Bourdieu, to introduce us to the artistic field itself and to the current conditions of art in an ultra-technological world of artistic post-autonomy.
However, the most relevant contribution of this book is the dialogue it establishes between the sociology of art and cultural policies. The confrontation between the two would have constituted a virtuous circle from which emerged a sociological work that thinks of the work of art "as a critical-cultural device that intervenes in the social and that is possible to productify from contemporary cultural policies", and that ends by synthesize this search for new ways of thinking about the social in cooperation with the critical work of art.