In this Reply to my Critics, I explain that The Transfiguration of the Commonplace was essentially a contribution to the ontology of art in which two necessary conditions emerge as essential to a real definition of the art work: that an artwork must (a) have meaning and (b) must embody its meaning. Many issues have emerged in the course of art\u27s history that are very much part of its practice but are not part of art\u27s essence. In response to Cynthia Freeland, I argue that though the book does not address art criticism, the two necessary conditions specify a viable rule for critical practice, as was recognized by Hegel. And in response to Ivan Gaskell, I argue that the definition of art arrived at in the book is capable of drawing a distinction between art works and artifacts
