 Perhaps the most pressing question, however, has to do with the extent to which we are to take conceptual art’s claim of de-materialisation seriously. Does the de-materialisation of such art not suggest that there is not only a rejection of traditional artistic media in conceptual art, but an outright refutation of artistic media in general? One possible way of making sense of this idea is with a distinction outlined by Davies, namely that between physical medium and vehicular medium (Davies 2004). Crucially, a vehicular medium is said to incorporate not only physical objects (such as paintings and sculptures, say) but also actions, events, and generally more complex entities. In Davies’ words, ‘[t]he product of an artist’s manipulation of a vehicular medium will then be the vehicle whereby a particular artistic statement is articulated… The vehicle may, as in the case of Picasso’s Guernica, be a physical object, or, as in the case of Coleridge’s Kubla Kahn, a linguistic structure-type, or, as arguably in the case of Duchamp’s Fountain, an action of a particular kind.’ (Davies 2004, 59). Adhering to this vehicular medium in art, may then at least equip philosophers with a notion that can deflate the concern of whether conceptual art, by rejecting physical media, denies the need for all artistic media.