function of the magnitude of their masses and the square of the distance between them. In contrast, argue Avital, abstract art does not relate any things, but is a special case of a mass of colors and forms with no reference outside themselves. Similarly, one can show that all the other nine mindprints exist at a growing level of abstraction: in reading footprints, in figurative art and in science but not in modern art. Thus avital has anchored the nature of art in the nature of the meta-structures of mind . Published works Avital's first book is : Art versus Non art : Art out of Mind, Cambridge University Press (2003). The central issue of this book is to re-establish the demarcation lines between art and quasi-art by anchoring the nature of art, as all other main branches of culture, in the structural properties of mind itself. In 2009 this book has been published in Chinese, and in 2018 it was published in Spanish. In the first part of this book Avital examines the question "Is modern art actually art?" He claims that all visual nonfigurative art created in the twentieth century and in the current century is not art. In this book Avital claims that art is in the first paradigmatic crisis in its history. He claims that modernism reduced art to arbitrary compositions of color and form, and thus in fact reduced art to design. Avital also argue why the art which is labeled abstract is not abstract at all, and this is because the fathers of modernism did not understand the concept of abstraction. Avital criticizes the aestheticians, and the art establishment, who "justified the misdeed," in his view: rather than defining art in a way that would enable distinction of art from non-art, they extended the concept of art with no limit until there was no one thing, including nothing, that could not be presented as art. This state of affairs is equivalent to a state of no art, for if everything is red and nothing is not red, then there is no red. The second part of the book presents the theory of mindprints, and shows how it can be applied in order to distinguish in a fairly clear manner between art and pseudo-art. He argues extensively how each mindprint, such as Connectivity-Disconnectivity, Symmetry-Asymmetry, Hierarchy-Randomness and others appear in every figurative painting but not in