Now I introduce a subject that will (eventually) act as a transitionbetween the traditional concepts of ﬁne art and aesthetic value and the alterations to that tradition that mark recent trends in aesthetics and art practice. This transition is approached from a somewhat oblique angle, for we are not at this point adding to the chronology of development of art from modern to postmodern times. Rather, we shall undertake an investigation of the value structure that continues to inform concepts of creativity, aesthetic value, and the nature of art. But the overt subject appears at ﬁrst to be at the sidelines of all of that: food. The ostensible marginality of this topic is only apparent, however, for its thorough analysis requires probing into the fundamental machinery of philosophy. It may seem improbable to make such a grand claim in relation to the humble subject of food, which at ﬁrst glance doesn’t seem to have a lot to do with philosophy at all. But it is precisely to discover why food and eating do not fall within the standard purview of philosophy that a gender analysis is useful.