 By themselves, these objections don't refute Beardsley’s views on the ontology of art. What they show is the price that has to be paid for them. Perhaps alternative views offer less insight, or perhaps they offer more insight but at a higher cost, that is, generate more or even greater anomalies. Beardsley’s views might still be the best, all things considered. If so, the moral to be drawn may be that the ontology of art isn’t a very fruitful or important area of philosophical investigation, and that no harm to philosophy or art criticism is done by ignoring it.