Interpretation thus presupposes a discrepancy between the clear meaning of the text and the demands of (later) readers. It seeks to resolve that discrepancy.

Art is connected with morality, I should argue. One way that it is so connected is that art may yield moral pleasure; but the moral pleasure peculiar to art is not the pleasure of approving of acts or disapproving of them. The moral pleasure in art, as well as the moral service that art performs, consists in the intelligent gratification of conscio

A work of art encountered as a work of art is an experience, not a statement or an answer to a question. Art is not only about something; it is something. A work of art is a thing in the world, not just a text or commentary on the world.

Transparence is the highest, most liberating value in art—and in criticism—today. Transparence means experiencing the luminousness of the thing in itself, of things being what they are.

Ours is a culture based on excess, on overproduction; the result is a steady loss of sharpness in our sensory experience.

art does not become function-less when it is seen to be, in the last analysis, content-less.

I have several times applied to the work of art the metaphor of a mode of nourishment. To become involved with a work of art entails, to be sure, the experience of detaching oneself from the world. But the work of art itself is also a vibrant, magical, and exemplary object which returns us to the world in some way more open and enriched.

In a culture whose already classical dilemma is the hypertrophy of the intellect at the expense of energy and sensual capability, interpretation is the revenge of the intellect upon art.

Style is the principle of decision in a work of art, the signature of the artist’s will.