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| Preface | |
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| Introduction | |
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| Challenges to Aesthetic Empiricism | |
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| Methodological Interlude: The "Pragmatic Constraint" on the Ontology of Art | |
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| Aesthetic Empiricism and the Philosophy of Art | |
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| Aesthetic Empiricism | |
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| Indirect Arguments Against Aesthetic Empiricism | |
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| Direct Arguments Against Aesthetic Empiricism | |
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| Drawing Ontological Conclusions from the Counter-Empiricist Arguments | |
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| The Fine Structure of the Focus of Appreciation | |
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| The Structure of the Focus of Appreciation | |
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| Performance and Appreciation | |
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| Ontology After Empiricism | |
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| The Artwork as Performance: An Argument from Artistic Intentions | |
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| Overview | |
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| The Bearing of Provenance on Work and Focus | |
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| Artistic Intentions and the Ontology of Art | |
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| Conclusions | |
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| Provenance, Modality, and the Identity of the Artwork | |
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| Preliminaries | |
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| The Work-Relativity of Modality | |
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| A Strategy for Accommodating the Work-Relativity of Modality | |
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| Appendix: A Defense of the "Modality Principle" | |
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| Artwork, Action, and Performance | |
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| The "Action-Type Hypothesis" | |
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| Assessing the ATH | |
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| Currie and his Critics | |
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| Art as Performance | |
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| Elaborating the Performance Theory | |
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| Structure and Focus | |
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| Heuristics and the Individuation of Artworks | |
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| Work-Constitution and Modality on the Performance Theory | |
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| Performances, Actions, and Doings | |
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| Revisionism and Modernism Revisited | |
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| Revisionism Revisited | |
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| Performance and the Challenge of the Modern | |
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| More on Forgeries | |
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| Performance as Art | |
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| Performance as Art | |
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| Performed Works and Work-Performances | |
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| Work-Performances and Performance-Works | |
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| Performance-Works and Improvisation | |
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| Defining "Art" as Performance, and the Values of Art | |
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| Notes Toward a Definition of "Art" | |
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| The Values of Art | |
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| Conclusions: The Case Against Contextualism | |
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| References | |
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| Index | |