Andy Warhol's . ██████ █████ ██ █ █████ ██ █████ ████ ███ ████████ █████████████████ ████ ███ ███████ █████████ ██ ██ ██████ █████ ██ ████████ █████ ████████ ██████ █████ ██ ██████████ █ ████ ██ ████ █████ ██ █████████ █████ ██ ████████ █████ █████ ███ ██ ██████████ █ ████ ██ ████ ██████████ ██ ██ ███ ████ ████ ██████████ █████ ████████ ██████████ ███████ ██ ███ █████████ ██ ██████████ █ ████ ██ ████
The author concludes that appearance alone does not entirely determine whether or not something is considered a work of art. This is supported by the example of Warhol’s Brillo Boxes. This artwork is visually indistinguishable from product packaging, but Brillo Boxes is considered a work of art, while the product packaging would not be considered a work of art.
The author supports a conclusion using an example.
The argument proceeds by
highlighting the differences ███████ ██████ ████ ███ ████████ ██ ████ █ ███████ ████████ ███ ██████ ████ ████████ ████ ████ ████████
demonstrating that an ████████ ████████ ██████ ██ ██ █████████
suggesting that two ██████ ████ ███ █████████████████ ████ ████ █████ ████ ██ ███ ████ ████ ██ █████
questioning the assumptions ██████████ █ ██████████ ██████
showing that something ████ █████ ██ ██████████ ██ █ ██████████ ██████ ████ ███████ ██ ████████ ████