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| Preface to the Third Edition | |
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| Introduction: What Makes "Art" such a Problematic Concept? | |
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| Art as Imitation: Plato | |
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| Art as Cognition: Aristotle | |
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| Art as Object of Taste: David Hume | |
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| Art as Communicable Pleasure: Immanuel Kant | |
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| Art as Revelation: Arthur Schopenhauer | |
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| Art as the Ideal: G. W. F. Hegel | |
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| Art as Redemption: Friedrich Nietzsche | |
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| Art as Communication of Feeling: Leo N. Tolstoy | |
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| Art as Symptom: Sigmund Freud | |
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| Art as Significant Form: Clive Bell | |
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| Art as Expression: R. G. Collingwood | |
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| Art as Experience: John Dewey | |
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| Art as Truth: Martin Heidegger | |
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| Art as Auratic: Walter Benjamin | |
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| Art as Indefinable: Morris Weitz | |
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| Art as Symbolic Form: Suzanne K. Langer | |
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| Art as Exemplification: Nelson Goodman | |
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| Art as Industry: Theodor W. Adorno | |
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| Art as Theory: Arthur Danto | |
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| Art as Institution: George Dickie | |
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| Art as Epistemology: Michel Foucault | |
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| Art as Aesthetic Production: Monroe C. Beardsley | |
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| Art as Practice: N�el Carroll | |
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| Art as Make-Believe: Kendall Walton | |
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| Art as Deconstructable: Jacques Derrida | |
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| Art as Feminism: Carolyn Korsmeyer | |
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| Art as Cultural Production: Pierre Bourdieu | |
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| Art as Simulation: Jean Baudrillard | |
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| Art as Postcolonial: Kwame Anthony Appiah | |
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| Art as a Cluster Concept: Berys Gaut | |
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| Art as the Arts: Dominic McIver Lopes | |
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| About the Authors | |
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| Credits List | |