 One of the over-riding concerns that beset the philosophy of conceptual art is thus whether and, if so, why one should actively pursue unified accounts in the philosophy of art. Whether one comes out of that investigation embracing a broader – albeit perhaps vaguer – set of concepts and tools than one started off with, or whether one considers oneself forced to abandon any hope of anything but very specific theories of art, artist, and artistic experience, conceptual art obliges us to think about where we stand on these issues.