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Accessing the mode of production of the work of art is in some cases a necessity for esthetic appreciation: as if the framing of work would allow a framing of the attitude of the spectator without which aesthetic experience could not exist. From the study of a series of René Magritte’s paintings compared with contemporary works, poetic constraint is broached for the strategic and programmatic qualities of the reception of the work: a reception which would be impossible without the latter because the spectator would not know what attitude to adopt to the work.