Offering aesthetic judgments of gardens is common. These judgments follow an evidentiary structure that is common to the evaluation of other aesthetic objects: summary judgments evidenced by the attribution of narrow formal aesthetic properties, “formal-adjacent” aesthetic properties, and relevant contextual relations. Yet, in a garden, these evidencing properties and relations take on forms that are different from those of other aesthetic and/or art objects. In this article, I consider these differences and consider whether aesthetic analyses of gardens rest on one (...) or more conceptual mistakes. In the end, I conclude that we can meet all challenges. (shrink)