 The turn of attention to the body and its appearance, as well as to domestic environments, has contributed to an area of interest loosely labeled “everyday aesthetics.” Scholarship on everyday aesthetics includes examination of craft practices, which are often pursued in the home where many women continue to work, and to artistic traditions that do not feature a distinction between “fine art” and “craft,” such as the cultural traditions of Asia (Saito 2007, 2017; Mandoki 2007; Leddy 2012; Light and Smith 2004). Cooking, eating, arranging furniture and shelves, gardening—all these quotidian activities have aesthetic features (for gardening see S. Ross 1998; Miller 1993). Such activities are not always uplifting or even pleasant, but attention to their sensuous character, the rhythm they impose on the day, week, or year, and their place in the patterns of life, disperses aesthetic attention to regions that are relatively new to theory, if widely familiar in experience.