 Now, even if we do wish to defend the view that the artist’s intention needs to be taken into account somehow in the interpretation of conceptual art, further questions still require our attention here. Most centrally, should the artist’s intention always be considered the decisive factor in interpretation and must it always be involved? Generally speaking, there are two main strands of intentionalist positions available. On the one hand, there is an approach which holds that the artist’s intention determines an artwork’s meaning, and thus cannot be overlooked – or indeed superseded – in artistic interpretation (e.g., Carroll 1992). On the other hand, there is a view that the interpreter ought to construct the best hypothesis concerning the artist’s actual intention with the help of, say, the text and biographical notes, and that this hypothesis confers meaning on the work in question (e.g., Levinson 1992).