So far my examples have illustrated purely descriptive and evaluative uses of "work of art," but my main claim is that most uses are not pure. Take a controversial example. Christo recently hung a huge, bright orange curtain between the sides of a canyon in Rifle Gap, Colorado. The curtain stretched all the way across the canyon, filled the canyon from top to bottom, and had a hole cut out for the road at the base of the canyon to pass (...) through. There was a good deal of controversy in Colorado at the time about whether the curtain was a work of art. . . . First, the curtain was not in a traditional medium, and this alone was enough to disqualify it as a work of art for some people. Still, it was an artifact, it was intended for public observation and contemplation, and it had no essential utilitarian function. That it met these criteria there could be no doubt, and this was enough for some to consider it a work of art. Others, however, required more before deciding. Of those, some said that a great deal of skill was required to produce it; that it definitely had significant formal qualities—especially the dramatic contrast in line and color between it and the completely natural surroundings; that it was certainly a creative endeavor; and that it was most conducive to aesthetic experience—comparable to certain natural phenomena. For these people it was, without a doubt, a work of art for both descriptive and evaluative reasons. Others, however, were much less charitable. They thought that if the production required skill at all, it was engineering not artistic skill; that not only did it not have significant formal qualities, it was formally trivial and sterile; that perhaps it was novel, but to call it creative was beyond the pale; that far from being conducive to aesthetic experience, it was a blight upon the landscape. Therefore, it was not a work of art. Finally, there were those people who were not sure which characteristics to attribute to the Christo production and were therefore uncertain whether it was a work of art. Robert McGregor is an associate professor of philosophy at the University of Denver and is the author of several articles on aesthetics. See also: "Christo's Gates and Gilo's Wall" by W. J. T. Mitchell in Vol. 32, No. 4. (shrink)