They say art is subjective. But the application of this idea transcends the determining of quality of art, and is even more applicable when pertaining to its definition. First, it was argued whether music was art, then cinema, even now the argument that video games have an art to them is being waged. However, through the centuries of inserting the titles of all of these mediums under the dictionary definition of art, one medium has been sorely overlooked: products. The line most commonly drawn between products and art is the idea of art seeping its way into a product, most often through its masterful design or engineering, however, this line is rarely ever drawn the other way around, with products seeping into art. This is preposterous, as products, if they are well design ones more specifically, tend to be the form of art we appreciate and connect with most. Furthermore, products tend to have the least linear path of interaction and the largest field of interpretation, meaning their artists have a much harder time pushing users to consume their art the way the artist intends it to be consumed, whereas in other industries, such as music and film, it is much easier for artists to imbue linear paths of interaction into their products. Because of this, when a truly masterful user experience is imbued in a product, especially one that can guide users through that products functionality in a comprehensive yet engaging way, these artists have accomplished the highest overlooked art. Like with any form of art, the idea of the separation of the art and the artist inevitably surfaces. Perhaps the greatest artist in this theoretical medium is Steve Jobs, an artist from whom many are eager to separate his art. Because of the sheer prevalence of iconic products in our time, a prevalence heightened by a population ever hoping to be seen as intrinsically tied to its lifestyles, the product is the art form of the century. The salesman is the musician. Steve Jobs is the Bach, and there’s still room for Mozart.