Abstract

If we can wrong a work of art, then it has moral status. This paper considers two examples of putative wrongings of works of art, but in both cases, the claim that the work of art itself is wronged cannot be vindicated. The sense that a work of art has been wronged arises when that work has a special meaning for us or has a special standing in a cultural context. There is nothing intrinsic to works of art that can confer moral status upon them, and so they are not moral patients.