At the beginning of the 20th century, the definition of art became one of the difficult topics of aesthetics and art theory. The emergence of the institutional approach and the debates surrounding it provoked many responses. This article proposes one possible response that uses Kant’s example of category deduction as a productive analogy that can serve as a “deduction of art categories”. Art is seen as a phenomenal entity constituted by multiple meaning perspectives, each of which has a figure representing it (author, spectator, patron, collector, curator, connoisseur, critic, historian, typologist, theorist, aesthetician, and metaphysician). The position of each of these figures legitimates a categorical definition that participates in the constitution of the “phenomenal being of art”.

中文翻译：

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将艺术定义为非凡的存在

20世纪初，艺术的定义成为美学和艺术理论的难点之一。制度方法的出现和围绕它的辩论激起了许多回应。本文提出了一种可能的回应，将康德的范畴演绎示例作为一个富有成效的类比，可以作为“艺术范畴的演绎”。艺术被视为由多个意义视角构成的现象实体，每个意义视角都有一个代表它的人物（作者、观众、赞助人、收藏家、策展人、鉴赏家、评论家、历史学家、类型学家、理论家、美学家和形而上学家）。这些人物中的每一个人物的位置都使参与构成“艺术现象”的绝对定义合法化。