 Though Danto has been the most influential and persistent critic of formalism, his criticisms are no more decisive than those advanced by Kendall Walton in his essay “Categories of Art.” Walton’s anti-formalist argument hinges on two main theses, one psychological and one philosophical. According to the psychological thesis, which aesthetic properties we perceive a work as having depends on which category we perceive the work as belonging to. Perceived as belonging to the category of painting, Picasso’s Guernica will be perceived as “violent, dynamic, vital, disturbing” (Walton 1970, 347). But perceived as belonging to the category of “guernicas”—where guernicas are works with “surfaces with the colors and shapes of Picasso’s Guernica, but the surfaces are molded to protrude from the wall like relief maps of different kinds of terrain”—Picasso’s Guernica will be perceived not as violent and dynamic, but as “cold, stark, lifeless, or serene and restful, or perhaps bland, dull, boring” (Walton 1970, 347). That Picasso’s Guernica can be perceived both as violent and dynamic and as not violent and not dynamic might be thought to imply that there is no fact of the matter whether it is violent and dynamic. But this implication holds only on the assumption that there is no fact of the matter which category Picasso’s Guernica actually belongs to, and this assumption appears to be false given that Picasso intended that Guernica be a painting and did not intend that it be a guernica, and that the category of paintings was well-established in the society in which Picasso painted it while the category of guernicas was not. Hence the philosophical thesis, according to which the aesthetic properties a work actually has are those it is perceived as having when perceived as belonging to the category (or categories) it actually belongs to. Since the properties of having been intended to be a painting and having been created in a society in which painting is well-established category are artistically relevant though not graspable merely by seeing (or hearing) the work, it seems that artistic formalism cannot be true. “I do not deny,” Walton concludes, “that paintings and sonatas are to be judged solely on what can be seen or heard in them—when they are perceived correctly. But examining a work with the senses can by itself reveal neither how it is correct to perceive it, nor how to perceive it that way” (Walton 1970, 367).