institutional theory of art the view that something becomes an artwork by virtue of occupying a certain position within the context of a set of institutions. George Dickie originated this theory of art (Art and the Aesthetic, 1974), which was derived loosely from Arthur Danto’s ‘The Artworld’ (Journal of Philosophy, 1964). In its original form it was the view that a work of art is an artifact that has the status of candidate for appreciation conferred upon it by some person acting on behalf of the art world. That is, there are institutions – such as museums, galleries, and journals and newspapers that publish reviews and criticism – and there are individuals who work within those institutions – curators, directors, dealers, performers, critics – who decide, by accepting objects or events for discussion and display, what is art and what is not. The concept of artifactuality may be extended to include found art, conceptual art, and other works that do not involve altering some preexisting material, by holding that a use, or context for display, is sufficient to make something into an artifact. This definition of art raises certain questions. What determines – independently of such notions as a concern with art – whether an institution is a member of the art world? That is, is the definition ultimately circular? What is it to accept something as a candidate for appreciation? Might not this concept also threaten circularity, since there could be not only artistic but also other kinds of appreciation? See also AESTHETICS , EXPRESSION THEORY OF AR. S.L.F.