  This discussion leads to a final consideration of Reid's aesthetics—the ontology of aesthetic qualities. Reid says that beauty “is derived” from the expression of mental events, but Reid says little about the ontology of beauty. Commentators have gravitated to this particular issue, but the results of this research are mixed. Four views predominate, and each can be characterized in terms of the relations espoused between aesthetic qualities and Reid's finely grained distinction between primary and secondary qualities. (i) Aesthetic qualities are secondary qualities, and that Reid mistakenly compares aesthetic qualities to primary qualities (Kivy 1970). Beauty, on this interpretation, is in the mind. But it is not in the mind—or eye—of the beholder. Rather, beauty is in the mind of the artist, and the artwork provides a sign of the mental states of the artist. (ii) Aesthetic qualities are primary qualities and secondary qualities, which suggests that this feature of Reid's aesthetics is incoherent (Gracyk 1987). (iii) Aesthetic qualities are neither primary nor secondary qualities, which also poses serious problems for Reid's aesthetics (Nauckhoff 1994). (iv) Aesthetic qualities bear features of both secondary and primary qualities (Benbaji 2000). Aesthetic qualities are like secondary qualities because both are dispositional, while they are like primary qualities because our judgments about them are incorrigible.