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This chapter seeks to shine light on the assumptions underlying art criticism. It has to do with ideas about aesthetics, or definitions of art and the process of art. Barrett notes that from the earliest days photographers and critics argued about whether photography was art. Museums largely settled this issue by adding photographs to their collections, but by the 1980’s the question had shifted to whether some types of art - multimedia objects incorporating photographic images - could in fact be considered photography.
Whereas much of photographic art theorizing typically took place among photographers, the late 20th century saw a number of outsiders join the discussion, most notably Susan Sontag, Roland Barthes, Rudolph Arnheim, and EH Gombrich. Among photographers writing on theory, Barrett notes Edward Weston, Paul Strand, and August Sander. The other important voice in aesthetic discussions is that of the museum and gallery curator, who through his decisions about what to buy or display influences the topic or tone of discussion. Barrett notes in particular John Szarkowski, Director of Photography at New York's Museum of Modern Art (1962-1991).
In his survey of theoretical positions, Barrett reviews the following:
