 Setting aside the details of such an account, one of the things conceptual art has helped philosophers to grasp more fully is that any successful general definition, or indeed principled theory of the identification of art, will need to have the non-manifest properties of artworks at its centre. It is the meaning that the artist infuses into the work and the meaning that we as audience stand to gain from it that contains the key to its status as art (more on this in §3.4). To use the example of Warhol’s Brillo Boxes again, the work of the conceptual artist seems primarily to be the work of imbuing objects with a particular kind of meaning.