 However, one of the most distinguishing features of conceptual art, setting out as it does to replace illustrative representation with semantic representation, is that it does not prioritise aesthetic experience in a traditional sense. Conceptual art is intended as an art of the mind: it generally appeals to matters of the intellect and emphasises art’s cognitive rather than aesthetic value. In the words of Timothy Binkley, traditional aesthetics is preoccupied ‘with perceptual entities’ and this ‘leads aesthetics to extol and examine the “work of art”, while averting its attention almost entirely from the myriad other aspects of that complex cultural activity we call “art” ’ (Binkley 1977, 271).