 There have been no shortages of attempts to define art in this manner. Most prominently perhaps, it has been suggested that art ought to be defined in terms of its aesthetic character, so that, roughly, x is an artwork if and only if x gives rise to an aesthetic experience (e.g., Beardsley 1958). Notwithstanding the difficulties that this particular suggestion entails (we shall return to this in §3.3), the advent of a kind of art that is as profoundly revisionary and difficult to classify as conceptual art renders the attempt to provide a general definition applicable to all art particularly complex. It is no coincidence, then, that a neo-Wittgensteinian approach came to dominate the philosophy of art in the late 1950s and 1960s. Drawing support from anti-essentialist theories of language, it was suggested that art was numbered among the various concepts that are, by their very nature, ‘essentially contested’ (Gallie 1948; see also Weitz 1956). That is to say, some concepts – such as that pertaining to sports, for example– simply do not allow for definitions in terms of necessary and sufficient conditions, and art is best as understood as one of them. In the words of Morris Weitz, art may be