▁the ▁present ▁and ▁the ▁" here ▁and ▁now " ▁in ▁contrast ▁with ▁traditional ▁j ew el ry ' s ▁et ernal ▁nature ▁as ▁an ▁he ir lo om ▁passing ▁between ▁gener ations . ▁ ▁The ▁art ▁historian ▁Mar ib el ▁Kon iger ▁arg ues ▁that ▁the ▁names ▁given ▁to ▁art ▁j ew el ry ▁are ▁important ▁in ▁order ▁to ▁distinguish ▁this ▁type ▁of ▁j ew el ry ▁from ▁related ▁objects ▁and ▁practices . ▁The ▁use ▁of ▁the ▁term ▁" con cept ual " ▁j ew el ry ▁is , ▁in ▁her ▁words , ▁an ▁" att empt ▁to ▁det ach ▁ones elf ▁through ▁termin ology ▁from ▁the ▁products ▁of ▁the ▁commercial ▁j ew ell ery ▁industry ▁that ▁reproduce ▁cl ich es ▁and ▁are ▁orient ed ▁towards ▁the ▁t ast es ▁of ▁mass ▁consumption ▁on ▁the ▁one ▁hand , ▁and , ▁on ▁the ▁other , ▁the ▁individual istic , ▁subject ively ▁a est h etic ising ▁designs ▁of ▁pure ▁craft ." ▁ ▁Crit ique ▁of ▁pre cious ness ▁ ▁Art ▁j ew el ers ▁often ▁work ▁in ▁a ▁critical ▁or ▁conscious ▁way ▁with ▁the ▁history ▁of ▁j ew el ry , ▁or ▁to ▁the ▁relationship ▁between ▁j ew el ry ▁and ▁the ▁body , ▁and ▁they ▁question ▁concepts ▁like ▁" pre cious ness " ▁or ▁" we ar ability " ▁that ▁are ▁usually ▁accepted ▁without ▁question ▁by ▁conventional ▁or ▁fine ▁j ew el ry . ▁This ▁quality ▁is ▁a ▁product ▁of ▁the ▁critique ▁of ▁pre cious ness , ▁or ▁the ▁challenge ▁of ▁art ▁j