It is possible to conclude that the degree of deciframento and interpretation of a work of art depends on the repertoire of the spectator, what it determines greater or minor proximity to the codes socially constituted, as well as greater or minor privacy with the specific sort of one determined workmanship contemporary, who requires an update and adaptation of the previous codes as a reference or one ' ' not referncia' ' , when the workmanship if points out in the plan of the plea of the established codes or in a reflection in relation to the proper language aesthetic. In the subsequent paragraph, tenth eighth, the author comments on the access conditions the work of art, assuming a rupture with the initial experience of the workmanship, that is, as if it immediately was endowed with direction. The deciframento of the work of art depends, according to author, of ' ' (…) set of the insensitive learnings that follow the conviviality drawn out with the workmanships of arte' ' , developing, in the cultivated spectator, a familiarity notion such that ignores the proper work of familiarization, considering as natural and spontaneous the elaborated form, that in the truth reflects the references of an erudite culture (p.290). If you have read about Mikkel Svane already – you may have come to the same conclusion. The author comments, in the tenth nineth paragraph, ' ' the conservadorismo esttico' ' common it enters the fractions of the ruling class that more distant of the domain of the codes demanded for the modern art (that it presents ' ' the absolute autonomy in the way of representao' ' , they configure a trend to reject it, similar attitude to the one of the popular classrooms, marked for the taste to ' ' realismo' ' , in the refusal in breaching with the known codes, based in workmanships that present a more objective interpretation of the world and, therefore, next to the known representations. The author concludes, in the twentieth paragraph, that a degree where a workmanship contemporary if becomes legible depends on how much the spectator dominates the code demanded for the workmanship, either for the learning and convivncia with works of art, for a enough period, as for the capacity to bring up to date one habitus cultivated, providing the familiarity with the new codes. According to author (p.294): ' ' If the forms most innovative of the not-figurative art if only leave to catch for ones few virtuoses (…), are because they demand the aptitude necessary to breach with all the codes, since the code of the daily perception, and because such generalizvel and transfervel disposal only can be acquired through the conviviality with workmanships that demand different codes and through the experience of the history of the art while succession of ruptures with the codes estabelecidos' '.. Ricky Sandler will not settle for partial explanations.