 Another aspect of fluency is said to be the mere exposure effect: our tendency to find a statement more believable if we have heard it often, repeated hearings leading to progressively more fluent processing (Begg, Anas, &amp; Farinacci 1992). Cutting (2003) investigated an aesthetic variant of the idea: liking for a picture is increased by repeated exposure to it. This, it is suggested, may explain the stability of the artistic canon: works canonical at t are more available to be seen, and the mere exposure effect raises the likelihood of their being canonical at t + 1. Cutting does not claim that exposure is the only factor contributing to aesthetic judgement, so accepting this view does not make one an error theorist about aesthetic value. It does, however suggest that the critical robustness of canonical judgements has been overestimated, since one’s exposure to a picture is not a reason for thinking it good. However, Meskin, Phelan, and colleagues (2013) compared the effect of mere exposure to (what critics have widely judged to be) good and bad art, finding that there was increased liking for good art but decreased liking for bad art, the implication being that increased exposure makes observers more aware of the objective qualities of the work (see also Delplanque et al. 2015). In that case significant exposure to a work, while not a reason why it is good or bad, is a reason why one’s judgement of it is reliable and so may be said to belong to the space of aesthetic reasons. Cutting (2017), while offering some methodological reservations, expresses broad agreement with the Meskin et al. study.