“Nobody really thinks who does not abstract from that which is given, who does not relate the facts to the factors which have made them, who does not — in his mind — undo the facts. Abstractness is the very life of thought, the token of its authenticity.”

Source: Life Is Worth Living

Books on Culture and Barbarism, Seeing the Invisible: On Kandinsky (1988)
Source: Michel Henry, Seeing the invisible: On Kandinsky, Continuum, 2009, p. 72

Herzog on Herzog (2002)

Crisis of the House Divided: An Interpretation of the Issues in the Lincoln Douglas Debates http://archive.li/CFqbg (1959), p. 195
1950s
Context: Lincoln was again and again to refer to the proposition, 'all men are created equal', as an 'abstract truth', a truth which was the life principle of American law. The implications of this truth were only partially realized, even for white men, and largely denied as far as black men were concerned. Yet it supplied the direction, the meaning, of all good laws in this country, although the attempt at that time to achieve all that might and ought ultimately to be demanded in its name would have been disastrous. A law is foolish which does not aim at abstract or intrinsic justice; and so is it foolish to attempt to achieve abstract justice as the sole good by succumbing to the fallacy to which the mind is prone, which regards direct consequences as if they were the only consequences. Those who believe anything sanctioned by law is right commit one great error; those who believe the law should sanction only what is right commit another. Either error might result in foolish laws; and, although a foolish law may be preferable to a wise dictator, a wise law is preferable to both.

Source: One-Dimensional Man (1964), p. 141

"Talk to an Art-Union (A Brooklyn fragment)" http://www.aol.bartleby.com/229/4011.html (1839); later delivered as a lecture at the Brooklyn Art Union (31 March 1851) and printed in the Brooklyn Daily Advertizer (3 April 1851)
Context: It is a beautiful truth that all men contain something of the artist in them. And perhaps it is the case that the greatest artists live and die, the world and themselves alike ignorant what they possess. Who would not mourn that an ample palace, of surpassingly graceful architecture, fill’d with luxuries, and embellish’d with fine pictures and sculpture, should stand cold and still and vacant, and never be known or enjoy’d by its owner? Would such a fact as this cause your sadness? Then be sad. For there is a palace, to which the courts of the most sumptuous kings are but a frivolous patch, and, though it is always waiting for them, not one of its owners ever enters there with any genuine sense of its grandeur and glory.
I think of few heroic actions, which cannot be traced to the artistical impulse. He who does great deeds, does them from his innate sensitiveness to moral beauty.

Source: One-Dimensional Man (1964), p. xliii

Source: Lectures on Negative Dialectics (1965-66), p. 16

Source: The structure of social action (1937), p. 8