Viewer A looks at artworks as more or less competent illustrations of theory. They are expert in the latest translated French theory and understand the semiotic and technical content of the work. The economics and social relations of an artworks production are admissable only inasmuchas they excuse theoretical failings.
Viewer B looks at artworks as more or less valuable assets. They are expert in the work’s provenance and the artist’s personal history and social standing. The theoretical and aesthetic content of an artwork is admissable only inasmuchas they excuse any aesthetic interiority on the part of the artwork.