形而上美学观念看似逆当代美学潮流而动，其实是对当代美学忽视形而上理想这一缺憾的反拨和批判，力图在审美理想建构中寻找美学的发展方向。从美学批判的角度看，这是形而上美学的正道；从论证系统的角度看，其借助的理论资源却将其导向了理想美学的建立，并进一步指向信念式的设定，这又使理论建设显得保守，又丧失了坚实的基础。“取消”美学的“取消”不是取消一切，而是取消这一基于设定的理想美学构想，这一构想来自康德的鉴赏判断，因此揭示康德在鉴赏判断中设计的审美神秘性就成为当务之急。“取消”美学致力于形而上美学建构的批判，希望美学重回语言使用的坚实大地，只有这样，才能完成既瓦解系统性美学建构，又葆有形而上希望的任务。

Metaphysical aesthetics appears to be a countercurrent to contemporary aesthetics, but it is actually an effort to find a direction in constructing aesthetic ideals, as a backwash and critique of the unfortunate fact that contemporary aesthetics has ignored metaphysics. From the perspective of aesthetic critique, this may be the right track of metaphysics. However, from the perspective of argumentation systems based on its theoretical resources, it may be conservative and foundationally unstable as it may lead to the establishment of an ideal aesthetics and further point to a setting up of some faith. What the Aesthetics of Elimination tries to eliminate is not all the concepts but the aesthetical construction based on idealism. Since this construction comes from Kantian appreciation judgment, it is imperative to expose the mystification of aesthetics in Kantian appreciation judgment. The Aesthetics of Elimination aims at a critique of the construction of metaphysical aesthetics, hoping to bring aesthetics back to language use. With this aim, it can both undermine the systematic construction of aesthetics and retain the hope of metaphysics.