The rise of aesthetics within organizational studies has been met with enthusiasm by a growing coterie of scholars. Aesthetics, it is claimed, offers a dimension that has been missing in a discipline that has been dominated by instrumental approaches. It is not surprising, then, that Pierre Guillet de Monthoux, one of the field's champions, asserts that “if the German artist Joseph Beuys … was right in claiming that art is tomorrow's capital, it seems reasonable to consider aesthetics its new organization theory” (Guillet de Monthoux, 2000, p. 35).

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