of Weitz’s career" - the "task of elucidating both ordinary and technical concepts" becoming central to his philosophical pursuits and his philosophical method becoming "one of conceptual analysis, so long as this pursuit is not understood to be predicated on the goal of providing necessary and sufficient conditions". Weitz is perhaps best known for his "influential and frequently anthologized" 1956 paper The Role of Theory in Aesthetics which was to win him a 1955 Matchette Prize (an award now replaced by the American Philosophical Association book and article prizes). This essay explicitly modified the theory of art initially provided in his 1950 book Philosophy of the Arts which had been "[s]ubject to devastating criticisms from Margaret McDonald among others". In The Role of Theory in Aesthetics Weitz "overturned his original claim.. that his empirical and organic theory could produce a closed or real definition of art" according to Aili Bresnahan and it is "this revised version that many philosophers have considered the sine qua non in support of the position that theories of art should be 'open'". Supporters of Weitz's later view "for similar but non-identical reasons" include W.B. Gallie, W. E. Kennick and Benjamin R. Tilghman and detractors include M.H. Abrams, M.W. Beal, Lee Brown, George Dickie, and Maurice Mandelbaum. Mandelbaum in his 1965 paper Family Resemblances and Generalizations Concerning the Arts refers to Weitz's paper and includes its author amongst those who, in support of the contention "that it is a mistake to attempt to discuss what art, or beauty, or the aesthetic, or a poem, essentially is" have made "explicit use of Wittgenstein's doctrine of family resemblances". Mandelbaum claims that though he has "placed this at the forefront of his discussion.. Professor Weitz [has] made no attempt to analyze, clarify, or defend the doctrine itself". Weitz's 1956 paper has been, as Meskin notes, "one of the most influential works in contemporary philosophy of art, and... continues to generate debate and discussion". In a 2021 monograph, Jason Josephson Storm argued that most attempts to answer Weitz's critique of a singular definition of art have failed, including those based on phenomenology and aesthetic experience. Storm critiques Weitz's appeal to "family resemblance" as ultimately circular, and instead suggests that Weitz's criticism points to broader issues surrounding the nature of social and natural kinds. Works Philosophy of the Arts, 1950 reprinted in P. Lamarque and S. H. Olsen (eds), Aesthetics and