Since the mid-1980s, Arthur C. Danto has been increasingly concerned with the implications of the demise of modernism.

Out of the wake of modernist art, Danto discerns the emergence of a radically pluralistic art world. His essays illuminate this novel art world as well as the fate of criticism within it. As a result, Danto has crafted the most compelling philosophy of art criticism since Clement Greenberg.

Gregg Horowitz and Tom Huhn analyze the constellation of philosophical and critical elements in Danto's new-Hegelian art theory.

In a provocative encounter, they employ themes from Kantian aesthetics to elucidate the continuing persistence of taste in shaping even this most sophisticated philosophy of art.