A serious critic has to comprehend the particular content, unique structure, and special meaning of a work of art. And here she faces a dilemma. The critic must recognize the artistic element of uniqueness that requires subjective reaction; yet she must not be unduly prejudiced by such reactions. Her likes and dislikes are less important than what the work itself communicates, and her preferences may blind her to certain qualities of the work and thereby prevent an adequate understanding of it. Hence, it is necessary that a critic develop a sensibility informed by familiarity with the history of art and aesthetic theory. On the other hand, it is insufficient to treat the artwork solely historically, in relation to a fixed set of ideas or values. The critic’s knowledge and training are, rather, a preparation of the cognitive and emotional abilities needed for an adequate personal response to an artwork’s own particular qualities.