This has been the single most influential argument in recent debates on the relation between erotic art and pornography, winning many supporters (Matthen 2011; Nanay 2012; Neill 2012) but also attracting a substantial amount of criticism (see, for instance, Kania 2012; Davies 2012; van Brabandt and Prinz 2012; Patridge 2013). While one may want to challenge some of Levinson’s premises (as Maes 2009 does in a systematic way), one could also question whether his rather radical conclusion really follows from said premises. After all, it seems that one can (coherently and successfully) aim at incompatible audience responses, as long as one does not expect these responses to be elicited at the same time, in the same audience (see Maes 2011).