But the problem with drawing the distinction this way is that objects other than the work of art itself often have to be consulted in order to know what the work means, and many of these objects have to be regarded as legitimate sources of information, lest interpretation become impossible. The OED is consulted by even the best of critics, and social histories are many times needed to understand cultural and historical references. Beardsley knows as much and, from “The Intentional Fallacy” onwar