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长期以来，“艺术创作要适应群众发展着的审美需要”这个口号被视为绝对真理。本文则认为，审美需要并非总是显露于外，任你掌握，它常常是潜在的、事前难以确定的，从而导致对它的“适应”也就成为没有实际意义的空话。潜在的审美需要实际上表现为作品与接受者的潜在趣味结构之间的一种合拍的关系。所以，归根结蒂，艺术创作所要面对的乃是公众的趣味结构，艺术创造贵在激活它。由于这种趣味结构是在生活实践与艺术接受实践中形成的，艺术创造最要紧的是从审美的角度有效地作用于公众的生活经验和艺术接受经验。
For a long time, the slogan “art creation should meet the aesthetic needs of the masses” is regarded as absolute truth. This article argues that aesthetic needs are not always revealed to you, but are often latent and difficult to be determined in advance. As a result, “adaptation” to them becomes an unrealistic empty talk. The potential aesthetic need actually manifests itself as a co-ordinated relationship between the work and the receiver’s underlying taste structure. Therefore, in the final analysis, art creation has to face the public interest structure, and art creation is activating it. Because of this interesting structure is formed in the practice of life and art acceptance practice, the most important thing in art creation is to effectively act on the public’s life experience and art acceptance experience from the aesthetic point of view.