  Historical definitions hold that what characterizes artworks is standing in some specified art-historical relation to some specified earlier artworks, and disavow any commitment to a trans-historical concept of art, or the “artish.” Historical definitions come in several varieties. All of them are, or resemble, inductive definitions: they claim that certain entities belong unconditionally to the class of artworks, while others do so because they stand in the appropriate relations thereto. According to the best known version, Levinson’s intentional-historical definition, an artwork is a thing that has been seriously intended for regard in any way preexisting or prior artworks are or were correctly regarded (Levinson 1990).  A second version, historical narrativism, comes in several varieties. On one, a sufficient but not necessary condition for the identification of a candidate as a work of art is the construction of a true historical narrative according to which the candidate was created by an artist in an artistic context with a recognized and live artistic motivation, and as a result of being so created, it resembles at least one acknowledged artwork (Carroll 1993). On another, more ambitious and overtly nominalistic version of historical narrativism, something is an artwork if and only if (1) there are internal historical relations between it and already established artworks; (2) these relations are correctly identified in a narrative; and (3) that narrative is accepted by the relevant experts. The experts do not detect that certain entities are artworks; rather, the fact that the experts assert that certain properties are significant in particular cases is constitutive of art (Stock 2003).