 One way in which commentators have tried to find unity in the Critique of Judgment is by connecting Kant’s aesthetics with his discussions, in the Introduction and First Introduction, of the search for a system of empirical concepts and laws. Examples of this approach include Ginsborg (1990a), Hughes (2007), Zuckert (2007a), and Geiger (2020). Another, potentially complementary, way is to find connections between his theory of beauty and his views on biology in the Critique of Teleological Judgment. Zumbach (1984: 51–53) suggests that works of art are analogous to organisms; Makkreel (1990: ch. 5) sees the connection as turning on the idea of pleasure as the feeling of mental life. Aquila (1992) draws a connection between the internal structure of organisms as one in which the whole determines the parts, and the internal structure of a judgment of beauty as one in which a feeling of pleasure rather than a concept serves as a predicate. Ginsborg (1997a) connects Kant’s aesthetics and his biological views in terms of the idea of purposiveness construed as normativity: the normativity in the functioning of organisms parallels the normative claim to universal agreement made by a judgment of beauty. Zuckert (2007a) offers an especially detailed account of the connection, also emphasizing the notion of purposiveness, but construing it as unity in diversity, which is manifested in beautiful objects and organisms alike. Geiger (2020) suggests that organisms play a special role as objects of aesthetic judgment, and suggests that our aesthetic judgments about organisms are closely allied to our sorting of nature into kinds and hence our acquisition of empirical concepts.