 Beardsley’s arguments against intentionalism are of a variety of sorts. In “The Intentional Fallacy”, he says that the intentions of the artist are neither “available nor desirable”, with this meaning that such intentions aren’t always available and are never desirable. Since we frequently can and do correctly interpret a work of art with little or no knowledge about the artist, the fact that the artist’s intentions aren’t always available is enough to show that Hirsch’s position is wrong. But that it’s never desirable to consult the artist’s intentions when they’re available is what Beardsley has to prove.