Postindustrial society reveals economic and social status of advanced industrial societies in postmodernity. Art commodity in post-industrial society is a sign which has serious interactions with other cultural and non-cultural signs. Post-industrialists believe that contemporary cultural status can be analyzed as mutual interweaving of cultural and social grounds, especially through economic activities. However, how this bilinear interaction, especially in complexities of post-industrial economic system achieves balance? And in this case, what economic and cultural characteristics it will have? Realms of postmodernity can be related to each other by historical-analytic description of three directions: fusion of culture and trade in recent capitalism, positioning of aesthetics against money after 1970, and non-hardware characteristics growth in economy. These three directions are placed in three basic questions and then, in seven detailed titles constitute a concept sheet which is based on eclectic ontology of post-modernism. Theorists of post-industrial society, by accepting this fact that even in culture everything is good for use, make new taste synonym with "spirit of buying from supermarket". Post-modern commodity is erotic; its meaning doesn't relate to its use; is not necessarily an object; and can remake all aspects of culture like art in itself. However, post-industrialists also know outcomes of their theory and accept destructive effects of market society on art society. Finally, it can be said that post-industrialists accept legitimization by consensus of art people; but from their point of view, this status has been shaped due to coordination of artistic productions with "production rhythm in post-industrial economy".
