For some time now, an emancipation struggle has been going on in aesthetics. First, the central place of beauty was questioned by such philosophers as Wittgenstein, J. L. Austin, and Nelson Goodman, who favoured other aesthetic properties and other ways of evaluating art. Next, the central place of art was questioned by Ronald Hepburn in an article that called attention to the aesthetic appreciation of nature (Ronald W. Hepburn, ‘Contemporary Aesthetics and the Neglect of Natural Beauty’, in Bernard Williams and Alan Montefiore (eds.), British Analytical Philosophy , London: Routledge and Kegan Paul, 1966, pp. 285–310). This second struggle, in so far as it aims to de-centre the arts, has recently been joined by a number of philosophers who are grouped together under the label of Everyday Aesthetics . Jane Forsey is among them, as she makes clear in her book, The Aesthetics of Design . According to Forsey, the preoccupation with the (fine) arts is responsible, at least in part, for the marginalization of aesthetics within philosophy. However, for reasons to be given, Forsey is also fiercely critical of the Everyday Aesthetics movement. Moreover, she is willing to accord pride of place to the property of beauty, so the first emancipation struggle is one that she does not join.