What is it for a work of art to be complete? In this article, we argue that an artwork is complete just in case the artist has acquired a completion disposition with respect to her work-a disposition grounded in certain cognitive mechanisms to refrain from making significant changes to the work. We begin by explaining why the complete/incomplete distinction with respect to artworks is both practically and philosophically significant. Then we consider and reject two approaches to artwork completion. Finally, we set out and defend our own account.

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