 Kant’s suggestion that representational art has “adherent” rather than “free” beauty, and that judgments about such art fail to be pure, might also invite the objection that Kant takes nonrepresentational art to be superior to representational art, so that, say, wallpaper designs are aesthetically more valuable than the ceiling of the Sistine Chapel. This objection is challenged by Schaper (1979: ch. 4, reprinted in Guyer 2003a) and by Guyer (2005b: chs. 4 and 5). Tuna (2018) adopts a different approach to the underlying problem by arguing that works of art, if they are works of genius, should not be viewed as cases of adherent beauty in the first place.