This essay aims to do just two things. One is to underline the necessity of a historical dimension in any acceptable account of arthood. Two is to sketch answers to certain objections that have been recently raised for an intentional-historical account of art, most of which offer a challenge to its insistence on an ineliminable historical element in any such account. In the course of underlining the historical character of the concept of art, it is shown that certain non-historical considerations appealed to by some theorists, for instance, institutional or functional ones, which appear to weigh importantly in some cases of arthood, in fact have an underlying or reinforcing rationale of a history-involving sort.
Keywords: arthood, intentional-historical theory, artworks