Abstract
I argue against the view that titles of artworks are proper names of those works and that all descriptive content in them is relevant only to interpreting the works. In its place, I suggest that the ties between titles and works are much more complex than is allowed by thinking of them solely as names. Their descriptive content is crucial to understanding how they entitle and that it is aesthetically important, not in an interpretive way, but in terms of how a work is staged or bounded in its confrontation with an audience.