The author suggests that psychoanalysis "aspires to a taxonomy … impervious to surprise." Thus, precise naming of objects is a specific aim. Science pursues a "perfected method," which the author views as "a kind of auto-erotic independence." Art, however, "seeks an object whose … authoritative presence will turn all problems of method superfluous." The objects for Freud were his patients. At that point, both object and method were central. With the introduction of the factor of craft, mastery becomes an aim. A study of the relation between art object and psychoanalytic theory would, in the author's view, expand our understanding of object love.