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This article studies the graffiti of Antoni Tapies, one of the most important twentieth-century Spanish artists. This is an aspect little considered in his art and, nevertheless, crucial to understand his body of work. This perspective allows us to highlight the artist's interest to bridge the separation between art and life. This way, he can be recontextualized beyond the informalist current in which he has been generally classified and be brought closer to the international movements of action art. To this end, the appearance of the wall in his work will be examined, in order to see the emergence of graffiti. In a second place, two stages will be differentiated to see the relationship between Tapies' graffiti development and the transformations that took place in the field of graffiti at an international level. In this way, the article aims to expand the interpretative framework of Tapies' work, which thus acquires a greater coherence and gets opened to new meanings.

Scientific discoveries of neuroscience are apparently explaining all the mysteries of the human brain. In particular, great advances have been made in the field of the perception of beauty. However, historical¿philosophical revision, such as the one I carry out in this chapter, can shed light on the limits that this approach can have. To this end, I begin by reviewing the psychologization of beauty that has been carried out by David Hume since the origins of modernity. From this premise, I question the laws of art enunciated by one of the most prominent researches on neuroaesthetics, Vilayanur S. Ramachandran, by contrasting his conclusions in the light of the philosophy of art of Arthur Danto, who calls into question that the value of what is purely perceptive might be enough to understand art. He also rejects any identification of art with beauty, just as he is contrary to any general statement of the laws of art. With this contraposition, I try to show that the question of beauty in art goes far beyond mere visual perception.

To get a comprehensive understanding of the core concept of ¿the end of art¿, this book analyses the intellectual trajectory of Arthur Danto, highlighting his successive achievements in philosophy of action, philosophy of history and philosophy of art. If, as Danto says, everything is extensively associated with everything else, it is impossible to avoid putting the philosophy of art in relation with his whole philosophical system.

Coeditor de la colección Documentos junto a Valentín Vallhonrat y Rafael Levenfeld. Edición de este número: Raquel Cascales Tornel