  Pepper, who struggled with art-ontological issues for several decades, ended up proclaiming in his (1952) that ‘work of art’ is best understood as a “portmanteau” expression on which are hung significantly different conceptual garments. In his early writings on the ontology of art (e.g., 1937b, 231; 1946), Pepper had distinguished between the work of art and “the aesthetic work.” In response to published objections and queries (Nathan Berall 1951, James L. Jarrett 1952, Robert Hoffman 1962), he later drew a distinction between what he proposed to call ‘the control object’ (that he had previously referred to as the ‘physical work of art’ or ‘the vehicle’) and the object of critical evaluation (previously, ‘the aesthetic work of art’).