Husserlian phenomenology can analyze the art criticism in two ways: first, it can analyze its very transcendental possibilities; second, it can analyze it as a particular cultural institution. The former approach places art criticism within analyses of pure consciousness at the “crossroad” between aesthetic and natural attitude while arguing for primacy of the aesthetic experience in artistic value judgment. This analysis comes with a particular normative prescription for the art criticism. However, such prescription does not sufficiently address the multifaceted tasks the living art criticism takes upon itself. Therefore, the article investigates and outlines the latter approach, too, that is, the ways in which Husserlian phenomenology can engage with the art criticism as a cultural institution. Leads are offered by Husserl’s treatment of the ethical dimension of vocation, which could be fruitful for the art criticism as well.