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Hi Saviooo,

You've actually spotted the exact crack in the argument. Your instinct is right; the trick is to see that it's the author, not you, who quietly forgets that representation is only one property of art.

Look at how the argument moves:

- Representation is one aesthetically relevant property.
- Whether a work has that property is context-dependent.
- We have no clear criteria for context-dependent properties.
- Therefore there are no clear criteria for whether an object qualifies as art at all.

The jump happens at the last step. To get from "we can't pin down representation" to "we can't identify art," the author has to assume that representation is the only thing that could tell us whether something is art. Only then does a problem with representation become a problem for identifying art in general.

That assumption is never stated - and it's exactly the possibility the argument "fails to exclude." This is a fill-in-the-flaw question, so the answer names the gap the author left open.

That's choice C: aesthetically relevant properties other than representation could determine whether an object is art. If such properties exist, the murkiness around representation doesn't sink the whole project - we'd just identify art some other way. So your observation isn't a contradiction of the answer; it is the answer.

Quick way to feel it: suppose the argument said "color is one relevant property, color is hard to judge, so we can't identify art." You'd immediately ask, "What about all the other properties?" That missing-other-properties question is C.

Answer: C

Saviooo
The author is trying to prove that there are no clear rules to decide if an object qualifies as art.
but the first sentence “Not all works of art represent something...” itself states that representation is just one possible feature of art among many. Then why does a lack of clear rules for representation suddenly mean we can't identify art at all? why does a lack of clear rules for representation suddenly mean we can't identify art at all?

(A) The author's conclusion is about whether we can identify an object as art, not about how we judge our experience of nonrepresentational art.
(B) The argument doesn't need to worry about non-art objects having aesthetic properties. It is strictly trying to solve the riddle of how we identify actual art.
(C) Correct answer.The argument fails because it overlooks the possibility that other aesthetically relevant properties (besides representation) could give us clear criteria to determine if something is art.
(D) The argument acknowledges right at the start that not all properties matter to the aesthetic experience. Pointing this out again doesn't fix or break the logic.
(E) Just because a stop sign or a map represents something doesn't mean it's art. The author doesn't need to rule this out because they never claimed everything that represents something is art.
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