Abstract

Decision makers of the art world usually ignore the existence and evolution of this oversupply of artists that work without imaging the actual mechanism that governs the system of selection and exclusion as well as the nature of the matrix, and are occasionally encouraged to forget their national identity, history, and culture. Although repeating warning on the birth of an artificial canon seems to be useless, renewed efforts for recovering, at least, a rational system of work flow would be acknowledged by contemporary artists. Framing a theory that recognizes those works that cause pleasure to humans may be the foundation for building a canon for discerning what acknowledge as art.