“Modernist artists sought to shatter taboos, to scandalize audiences, and to pass beyond the limits of bourgeois “good taste.” From Stravinsky to the Dadaists, from Bataille to the makers of Deep Throat, and from Charlie Parker to Elvis to Guns N’ Roses, the aim was always to stun audiences, by pushing things further than they had ever been pushed before. Offensiveness was a measure of success. Transgression was simply and axiomatically taken to be subversive. But this is no longer the case today. Neoliberalism has no problem with excess. Far from being subversive, transgression today is entirely normative. Nobody is really offended by Marilyn Manson or Quentin Tarantino. Every supposedly “transgressive” act or representation expands the field of capital investment. It opens up new territories to appropriate, and jump-starts new processes from which to extract surplus value. What else could happen, at a time when leisure and enjoyment have themselves become forms of labor? Business and marketing practices today are increasingly focused upon novelty and innovation. More rapid turnover is one way to combat what Marx called the tendential fall of the rate of profit. Far from being subversive or oppositional, transgression is the actual motor of capitalist expansion today: the way that it renews itself in orgies of “creative destruction.”