Abstract

The sixties may have been the defining decade of Arthur Danto's intellectual development. While focusing on the sixties, this chapter aims to set Danto's post‐historical view up against the main competing camp of the time, namely aesthetic modernism. Danto's sweeping claim about the non‐aesthetic purpose of “most of the art made in the course of art history” may seem dubious. Danto highlights the 1960s as a time when artists and critics alike started to move decisively away from the idea that “quality in art” should be identified with the presence of compelling aesthetic properties. Danto is in this regard particularly scathing in his critique of Greenberg, whom he thinks based his art criticism on his own “practiced eye,” which supposedly could pick out “greatness” on the basis only of some mysterious retinal moment of satisfaction, incommunicable to the uninitiated.