 In addressing (ii) we will most likely need to refer to the various mental abilities we put to use in such interpretative exercises (e.g. imagination, empathy); and also to ask precisely what the target of our interpretation is. This latter task is not as unproblematic as it may seem, for it is not always clear whether it is the object itself that should be under scrutiny, the object’s perceptual properties (and, if so, which), the idea at the heart of the work, or the artist’s intentions in making the piece. It seems unlikely that the question will find an adequate answer until we find an acceptable solution to the problem mentioned above, namely ‘Is the vehicular medium a constitutive part of the conceptual artwork or not, and if so how?’.