  Some critics of Davies’ account (Kania 2005, Stecker 2005) contend that he provides insufficient grounds for the adoption of a highly revisionary ontological doctrine that gives the lie to countless ordinary statements about works of art, such as “the Mona Lisa can be seen at the Louvre.” This criticism echoes Mary McCarthy’s remark in response to Harold Rosenberg’s proposal that action paintings are not pictures but “events”: “You cannot hang an event on a wall, only a picture” (Rosenberg 1962, 5). Davies (or the proponent of any other ontological account that is incompatible with prevalent pronouncements in ordinary language) may respond that the philosopher’s goal is not to ratify all casual and unreflective utterances about the arts, but to articulate a cogent (and possibly revisionary) metaphysics. Davies in fact contends that his proposal is meant to obey a “pragmatic constraint” to the effect that “Artworks must be conceived ontologically in such a way as to accord with those features of our critical and appreciative practice upheld on rational reflection” (2004, 23). This constraint is part of a larger argument that also rests on the following “epistemological” premise: “Rational reflection upon our critical and appreciative practice confirms that certain sorts of properties, actual or modal, are rightly ascribed to what are termed ‘works’ in that practice, or that our practice rightly individuates what are termed ‘works’ in a certain way” (2004, 23).