 Finally, what are we to make of the relation between aesthetic and cognitive value in conceptual art – should they be considered as in opposition or even as mutually exclusive? If the only kind of value that is of genuine artistic importance is cognitive value, it will be difficult to avoid the definitional and ontological concerns mentioned above. Also, it will call for a deeply revisionary conception of art, one fundamentally hostile to the very notions we are probably most used to associating with art, namely beauty and aesthetic pleasure.