In this article I explore the metaphysical underpinnings of ‘Art and Objecthood’ in order to tease out its reliance on several of the tenets of conservative art criticism: Plato’s theory of forms, Kant’s aesthetics and the unquestioning acceptance of subjectivity and representation. I argue that it is due to these investments that ‘Art and Objecthood’ fails to come to terms with the condition of art in the age of advanced technology and virtual (simulated) reality. This argument develops by means of clarification of three key concepts: simulacrum, theatricality, and truth
