Abstract
The works of certain Turner Prize winners have prompted some critics to question whether they are in fact really artworks at all. This chapter looks at the controversies that have arisen over the presence of conceptual art, installations, photography, video art and ready-mades in the shortlist exhibition, as well as speculation about conspiracies at the heart of the contemporary art world. Turner Prize artworks are considered against competing definitions of art that have been offered by writers on aesthetics, including Clive Bell, W.E. Kennick and George Dickie.
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