 The attempt to separate the aesthetic from the cognitive is far from a recent investigative endeavour in philosophical circles. In the very first section of Kant’s Critique of the Power of Judgement, a clear-cut distinction is outlined between aesthetic and cognitive (or ‘logical’) judgements. However, few artistic movements have pressed these questions about the division between aesthetic value on the one hand, and cognitive value on the other, as scrupulously and explicitly as conceptual art. In fact, conceptual art makes things very difficult for itself by holding that the only kind of artistic value that is entirely legitimate is cognitive value.