When it comes to truth for Theodor W. Adorno, art and philosophy are closely entangled. Due to their contradictory qualities, neither is self-sufficient when it comes to gaining true knowledge, but require each other’s capabilities. However, even though Adorno insists on the special bond between art and philosophy, his aim is not that they should be synthesized into one and the same method. This is because it is not their different strengths that hold their true potential, but their weaknesses. “The True is the whole,” writes Hegel, but this idea is what gets shattered by Adorno when he insists on the respective inabilities of art and philosophy to obtain absolute truth, as a consequence of the suppression of the non-identical held up by identity thinking. By following Adorno’s reading of Hegel, I will in this paper instead suggest that we consider truth as broken. My aim is to show how such an understanding can align with Adorno’s argument that truth is in the object, outside of subjectivity, while also acknowledging the socio-historical mediation of it. Broken parts, seen through the respective deficiencies in art and philosophy, could then be understood as being true, as we dismiss wholeness as a false demand.