Visual art of our century can be divided into two main forms, one being the
traditional one (with much of modernist art acting in this regard as its e
xtension) which privileges recognition and the pleasure such recognition of
fers. The other is that which begins with ready-mades and continues with co
nceptual and neo-conceptual art. Although in this second case theory is of
much greater importance than in the first and precedes a work of art, the l
atter can end up playing a similar role as traditional art, for it too may
offer an indirect form of recognition. The precondition for this is that it
functions as a social phenomenon, instead of erecting its artistic relevan
ce solely on the act of production or creation.
An artistic appreciation which defends the notion that all artworks are not
equally art requires that the position of the Cartesian subject remains in
tact for it is only in this way that the distancing gaze identified with th
e aesthetic and artistic appreciation is achieved.