 We can now see that the experiential requirement may well fail to have any bite with regards to conceptual artworks because the artist’s aim does not necessarily involve conferring to the work of art properties that must be experienced directly in order to be grasped and fully appreciated. If there is to be any kind of first-hand experiential requirement for the appropriate appreciation of conceptual artworks, it will perhaps be of a kind that focuses on an imaginative engagement with the idea central to the artwork rather than a perceptual experience of its aesthetic properties (see Schellekens 2007)