 Richard Shusterman (1992, etc., see bibliography) is the most widely known advocate of Dewey’s pragmatist aesthetics. He especially emphasized the possibilities of treating popular art as fine art with his well-known example of rap as fine art. He also extended aesthetics into the realm of everyday life with his concept of “somaesthetics” (2012). Shusterman strikingly contrasted Dewey’s approach to that of analytic aesthetics. Like Dewey, he stressed the idea that art and aesthetics are both culturally and philosophically central. Some of his most trenchant comments involved similarities between Dewey’s thought and that of such continental thinkers as Foucault and Adorno. However he also had his criticisms of Dewey. He took Dewey to be redefining art in terms of aesthetic experience, which he believed to be too slippery a concept to explain much. Moreover, he asserted that although Dewey has much to say about aesthetic experience, Dewey also holds that it is indefinable, and this leads to problems with its being a criterion of value in art. On the other hand, Shusterman thought that Dewey sees defining art in terms of experience as a matter of getting us to have more and better experiences with art, and not of giving a definition in terms of necessary and sufficient conditions. So, although he doubted that philosophical theory can redefine art, he suspected Dewey is not trying to do this anyway. Moreover, he thought it not only possible but valuable to make less dramatic classificatory changes, as for example in legitimating rock music as fine art. He believed that whereas Dewey sought a global redefinition of art, he was simply trying to remedy certain limitations in art practice. Later, he said that much art fails to generate Dewey’s aesthetic experience (Shusterman 2000). He also observed that art cannot be redefined to be equivalent to aesthetic experience, as we are hardly going to reclassify an incredible experience of a sunset as art. Shusterman also insisted on the value of aesthetic experiences that are fragmented and ruptured, contrary to Dewey’s emphasis on unity, and noted that Dewey neglected the possibility of lingering reflection after moments of consummation (Shusterman 2004). Paul C. Taylor addressed Shusterman’s criticism of Dewey as trying to find a definition of art arguing that Dewey provides 