 One reason to think that the distinction is important is that Kant seems to suggest that all judgments of beauty about representational art are judgments of adherent rather than of free beauty, and hence that they are all impure. (This is questioned by Tuna (2018), who holds that works of art which result from genius can be regarded as instances of free rather than adherent beauty.) While some art works can be “free beauties”, the examples Kant gives are all of non-representational art: “designs a la grecque, foliage for borders or on wallpaper…fantasias in music”, and indeed, Kant adds, all music without a text (§16, 229). It might be supposed from this that Kant’s core account of judgments of beauty is only peripherally applicable to art, which would make it largely irrelevant to the concerns of contemporary aesthetics. However, this consequence is debatable. For example, Allison argues that judgments of adherent beauty contain, as a component, a pure judgment of beauty. The purity of this core judgment is not undermined by its figuring in a more complex evaluation which takes into account the object’s falling under a concept (2001: 140–141).