Despite the broad cultural impact of psychoanalysis in the post-war period, philosophers interested in the arts reflected remarkably little interest in psychoanalysis itself or in how psychoanalytic theories and concepts might illuminate the analysis and interpretation of works of art. In contrast, artists of the contemporaneous avant-gardes often made reference to concepts derived from the work of Sigmund Freud, C. G. Jung, and (somewhat later) Jacques Lacan, although the precise relationship between these concepts and the artists’ works remains complex and often vague. This chapter, then, focuses on those few moments when philosophical aesthetics found itself in productive dialogue with psychoanalytic theory and sketches an arc of influence that remains fragmentary to this day.1