Thus being, the rejections matter in such a way how much admiring, not the initiates how much the initiates, the bad taste in such a way how much the good taste, and the people in such a way how much the workmanships, exactly that the life of the artists is less expressive than its pictures. 2MEDIAO In accordance with the author the term mentions everything to it that intervines between a workmanship and its reception and tends to substitute distribution or institutions, can be distinguished some categories from mediators as: the people, institutions, words and for the things, even so are, in the reality, narrowly on. 2.1Pessoas According to author a work of art if does not become as is without before it does not enter for the complex net of actors, (marchads to negotiate it, collectors, critics, connoisseurs, appraisers etc.). Thus: … between an art guided for the market and an art guided for the museums. This sociology of the market of the art will be able to be equally concentrated in certain categories of actors, such as the connoisseurs or agents of auction (pg 89). Thus, the activity of the critics can be the object of a sociology of the reception, and not only of a history of the richness of critical as it is practised traditionally in the literary studies. It can be treated to put in evidence, the continuity of the works of Pierre Bourdieu, the linking between the social status or politics of the critics and its aesthetic position. 2.2As Institutions the people frequent exert its activity in the picture of institutions that the history of the art demonstrated this well has its proper history and its logic. Thus, the economy is convoked when it demonstrates as the administrations concur for price increasing of the costs of the spectacle for the living creature, by means of subventions that raise the quality expectations stop beyond the offered possibilities for the market.