apparently has certain desires for actions that are morally to be condemned, but, on my, broadly Kantian view this does not yet mean that he fails morally-assuming that we take moral failure to concern one's actions-let alone, and this seems crucial, that the work which makes him conscious of the psychological frictions in his experience of reality is to be condemned because of it. Fantasies are better controlled once we are conscious of them than by rejecting whatever brings them to the fore. Art allows us to entertain fantasies in reflection, even when we would rather not recognize them as ours. While thus entertaining our fantasies, we are not supposed to activate their complex psychological causality and to act upon them. If one neglects the contingency of psychological reality, one denies art's biggest potential: art can induce its audience to experience something without having to act accordingly. 4. The work of art as a moral agent With this, I return to the thought that moral judgments primarily concern actions. If we are to morally judge works of art, perhaps we must understand them as instances of moral agency. For that to succeed, we must be able, first, to view them as a realization of intentions of a moral mind, or minds. Secondly, we must conceive of that realization as psychologically real, i.e. as unaccountable without reference to a psychology. [13] (We are not principally interested in the strictly causal effects of works of art, nor merely in the intentions.) Lastly,