But even if one were to disregard this rapidly growing subgenre of pornography, and argue that there is something deeply wrong with any type of pornography, that in itself would still not justify a strict divide between erotic art and pornography. For every plausible account of the relation between moral and artistic value—whether it is autonomism, ethicism, immoralism, or contextualism—will acknowledge that works of art, including works of erotic art, can be deeply morally flawed (Gaut 2007; see also Eaton 2003 for an in depth analysis of Titian’s Rape of Europa, 1562). What is more, it appears that whatever (moral) objection one wants to bring forward against mainstream pornography, it is likely to apply to some erotic art as well (Patridge 2013). First, harm may be inflicted when erotic art is being produced (Brown 2002 tells the harrowing story of Cellini and the Nymph of Fontainebleau). Second, some erotic art may also constitute harm. At least, Langton and MacKinnon’s arguments seem to carry over seamlessly to (certain strands of) erotic art. One of the difficult questions for Langton and MacKinnon—do pornographers possess the appropriate authority to perform the speech acts of silencing and subordinating women?—appears even easier to answer in the affirmative in the case of artists since their perceived authority is much less contentious. Third, some erotic art may cause harm in the same way as pornography, that is, by eroticizing aspects of gender inequality and thus shaping people’s sexual preferences in such a way that sustains the current inequality between genders (Eaton 2012). Finally, a detailed case is made by, respectively, Cooke 2012 and Eaton 2012 that neither exploitation nor objectification is unique to pornography and that both are present in many works of erotic art—a presence that is frequently unacknowledged precisely because critics tend to focus exclusively on pornography and too often consider art to be above (moral) criticism.