Richard Wollheim was, according to Malcolm Budd, ‘one of the most original, creative and courageous philosophers of his time.’ This unusual collection of epithets is explained, at least in part, by Wollheim’s championing the relevance of psychoanalytic thought to philosophy. In particular, Wollheim thought the subject matter of modern philosophy of art (depiction, expression, creation, criticism) could only be properly accounted for by appeals to aspects of ourselves that lay deeply within our psychology. I will argue that this gave a unity to Wollheim’s thought; a unity which also explains some otherwise prima facie puzzling claims.