I. The Idea of the Visual Arts
1The Aesthetic Attitude
2On the Nature of the Visual Arts
3The Myth of the Aesthetic Attitude
4Intuition, Technique and the Classification of the Arts
5On the Limits of Painting and Poetry
II. Painting and the Pictorial Arts: Form and the Representation of the Visible World
6A Copy Theory of Representation
7Truth and the Stereotype: An Illusion Theory of Representation
8Reality Remade: A Denotation Theory of Representation
9Looking at Pictures and Looking at Things
10Caricature
11The Aesthetic Hypothesis: Significant Form and Aesthetic: Emotion
III. Painting and the Pictorial Arts: Wider Contexts
12Concerning the Spiritual in Art
13Symbolism
A. Psychology
14Art and Thought
15Leonardo da Vinci and a Memory of His Childhood
16The Forms of Things Unknown
17Psychology and Art Today: A Summary and Critique
B. Religion
18The Religious Significance of Painting
19The Sexuality of Christ in Renaissance Art and in Modern Oblivion
C. Politics and Society
20The Naked and the Nude
21Ways of Seeing Women
22Why Have There Been No Great Women Artists? Linda Nochlin
IV. Arts of the Camera
23The Ontology of the Photographic Image
24In Plato's Cave
25Photography, Vision, and Representation
26A Realist Theory of Film
27Film as Art
28Basic Film Aesthetics
V. Sculpture, Architecture, and Hand-Crafted Objects
29The Discovery of Space
30The Worship of Art: Notes on the New God
31Form and Function
32How Buildings Mean
33A Case for Figurative Architecture
34Art and Craft
35The Aesthetic of the Antique
36Use and Contemplation
VI. Modern Developments
37Aesthetics and the Contemporary Arts
38The Artworld
39What is Art?: An Institutional Analysis
40The Ontological Peculiarity of Works of Art
41Piece: Contra Aesthetics
VII. Art History and Museums
42The History of Art as a Humanistic Discipline
43Style and Significance in Art History and Art Criticism
44Categories of Art
45Art and Authenticity
The New Art History: A Symposium
46What is "New" About the "New Art History"? Thomas Dacosta Kaufmann
47Cultural Institutions and the Topography of Art History
48Old, New and Not So New Art History
49Showing and Saving, Looking and Learning: An Outsider's View of Art Museums
50Exhibits and Artworks
VIII. On the Borders of the Visual Arts
51Why Philosophy Neglects the Dance
52Sweet Kitsch
53Circus, Clowns and Culture
54Appreciation and the Natural Envoirnment
55Nature and Art: Some Dialectical Relationships
56Rain
57The Art of Personal Beauty
58Life as the Imitation of Art