 Beardsley responded to each of the three. His position on developments in the arts is probably best described as open-minded moderation. He welcomed new developments, and reference to new works and works that lack the luster of fame, notoriety, or ready recognition appear frequently in Aesthetics and his other work. He didn’t automatically embrace the latest fad, fashion, or movement, however, but tried, as he said, to get something out of a work. Failing that, a work could be ignored, though tentatively and perhaps temporarily—the fault might be his and not the object’s, he always thought. Certainly, though, the well-established works of the Western tradition—the Bachs, Goyas, and Popes—had to be respected and accounted for in any philosophy of art worthy of the name.