The question concerning the possibility of objectivity in critical judgments about art arises especially if we consider artworks as Intentional objects, radically different from the merely physical. With this question in mind, the following paper aims to argue that, specially in the context of analytic tradition of this problem, Margolis doctrine seems to be the strongest bet, because it can deal with the challenges that peculiar character of artworks suggests. In addition, I will propose that the concept of historical intersubjectivity can face adequately the challenges and difficulties posed by artworks. Finally, I will enunciate the advantages of this term over "objectivity".