Traditionally, art history has been viewed as a concern about the context of creation, curation, critique, and classification of art, but its range and focus is seldom agreed on. A conventional view of art history may suggest that, as a field, it is dedicated to issues of classification and the development of related expertise in curation and critique. Yet, if we follow the arguments of the nineteenth-century philosopher Konrad Fiedler, ¹ knowledge of historical form does not necessarily entail a knowledge of art, while knowledge of the history of art does not necessarily give one an understanding of art objects themselves, the material and symbolic qualities of an object of art, or deeper questions relating to the ontology of art.