Since the mid-1980s, Arthur C. Danto has been increasingly concerned with the implications of the demise of modernism, and out of the wake of modernist art has suggested that a radically pluralistic art world has emerged. His essays here discuss his vision of the art world and the implications it has for criticism. Horowitz and Huhn analyze in this text the constellation of philosophical and critical elements in Danto`s new-Hegelian art theory. In order to do this, the critics employ themes from Kantian aesthetics to elucidate the continuing persistence of taste therein.