Postmodern art is the representation of the return to pre-modern artistic styles and genres and there is no longer a division between art, popular culture and media. This philosophical term challenged and reacted to what modernism had to say, echoing dramatic changes in our social and economic characteristics. Furthermore, postmodern essays and criticism coincide with the advent of contemporary art. Contemporary art is more socially aware and philosophically inclusive of different styles and media than artworks prior to this era. Contemporary art is experimental and often includes crossovers of styles, as well as blends of different periods in art history, from earlier times to the present day. Contemporary art cultivates conceptual, political, and social messages, addressing feminism, multiculturalism, globalization, bioengineering, and AIDS, among other trends. Contemporary art is created here and now and that makes it contemporary for us. Contemporary art consists of works of art created from the 1960s or 1970s to today and is an ever-evolving artistic style. I will analyze three contemporary works of art and how different philosophers and theorists would interpret each of them. Marcus A. Jansen's first artwork "Surreal" is a collage of oil enamel on canvas made in 2009, exhibited at MW Gallery Aspen. Marcus Jansen falls into the general category of contemporary postmodernism due to the time period in which he paints, the various high and low subject matter he incorporates into his paintings, and his use of appropriation or mound. Jansen's painting 'Surreal' appropriates the images of Pablo Picasso's painting 'Guernica' made in 1937, which depicts the cities bombed during the Spanish Civil War... in the middle of paper... an object, only and truly existing in the artist's mind and that it is an expression of the artist's emotions. Since according to this theory the work of art exists only in the mind of the artist, the answer to the question of whether Lia Chavez's work of art is art is yes, it is art. And then, if it is also a representation of her emotions at that moment, she most likely felt remote, dejected and domineering at the same time. Although according to Collingwood to reach this state of liberation the artist does not have to know the result of the art before this happens. Then Chávez couldn't have taken the photographs knowing somehow how they would turn out. Collingwood indicates this by saying that “an artist who sets out to produce a certain emotion in his audience sets out to produce not an individual emotion, but an emotion of a certain kind (p..126).”