The short article on asen by Edna Bay (Afii can Arts vol. 40, no. 1, pp. 6-8), after her analysis of Suzanne Blieres contribution to a catalogue, is, in fact, an invitation to give careful thought to methods used in art history in general and to how we, as art historians, use data collected from the field, in particular. My contribution to this dialogue will focus on four main points, based on my reading of Edna Bay's text: