History of art presupposed different ways of comprehension. With modern art and even more with contemporary art, the rift between art and its reasons was deepened, a growing rift between perception and aesthetic judgment; that is why the productions that we identify as contemporary art demand that we pay attention not only to the perceptual stimuli that the work can provide us with but also to its raisons above all. The aim of the work is to make an analysis of the resulting tension between the defenders of traditional aesthetics and those who produce (artists), exhibit (gallery owners, curators), consume (spectators), or defend (art theorists, reviewers) works that are located outside the logic displayed by that aesthetic. The present analysis will be carried out from the contributions we are going to use of the second period of Wittgenstein’s philosophy, notions such as language-games, life forms, appreciation, etc., are some of the tools to pass the discussion through the sieve. We hope to contribute to enrich some discussions that arise around the problem of contemporary art. The hypothesis is that current aesthetics are set up to a large extent based on this new conceptual device displayed by Wittgenstein’s philosophy from the 30's.