This paper rejects the autonomy myth that treats works of art as self-contained worlds and instead situates them within nature. Following Murray Smith’s “Third Culture” program, I retain triangulation—structure, function, and appearance—as necessary to explain how artworks affect perceivers: material structures impinge on perceivers’ brains, recruit psychological functions, and yield phenomenal experience. But triangulation is incomplete. I propose a fourth vertex—normativity—thus “squaring the triangle.” Normativity explains why works of art can and should be experienced in a certain way. Works of art are artifacts whose functions are stabilized by communities as constitutive norms. Artifacts ought to perform in certain ways; users ought to respond for the right reasons. The same holds true for works of art and their users, whom we call appreciators. Appreciation thus differs from mere enjoyment; it is the proper use that targets merited pleasure and a shared core of comprehension, on which interpretation builds.