The celebration of machine finish in the work of Judd, Koons, Murakami and Hirst removes the only qualifier, touch, that could tell us if bliss were present or not, in the end product. Machine finish is a useful trope in the world of big-time, celebrated commodity art. If we can deny touch as a component of the most esteemed work then second rate work can pass as masterpieces. This work may have had sublime touch, thus qualifying it for the pantheon but we’ll never know. These artists have become like architects i.e. executives in an object delivery system. There is no “touch” in a work of architecture other than that of the anonymous workmen who build it. Lack of touch in a building does not edit it from consideration from the pantheon of the sublime but it does edit out a work of art.