Although Kant considers a pure aesthetic judgment to be reflective in nature, he is also able to account for a wider range of prejudgmental and judgmental aesthetic responses. In the case of works of art, I will show that he allows for both reflective judgments about their beauty and determinant judgments about their meaning. But such an intersection of reflective and determinant judgments should not be seen as supporting the conclusion that their judgmental functions merge. Since determinant judgment proceeds from a given universal to particulars, it clearly involves a subordinating mode of thought. I will argue, however, that reflective judgment, which tends to begin with particulars, is a coordinating mode of thought. Determinant judgment appeals to universals to either describe the nature of particular objects or explain their behavior by subsuming them under the laws of the understanding. Reflective judgment, by contrast, is an expansive mode of thought that appeals not just to the understanding, but to reason as a framework for interpreting particulars. Because Kant calls reflection the power to compare a representation either with other representations or with our own cognitive powers, I want to underscore that reflective judgment is not so much about objects per se as about their relations to us. I will also make a case for the thesis that reflective judgment is orientational in that it enables the apprehending subject to put things in context while discerning his or her own place in the world.