It is human and understandable for a photographer to be unable to create a remarkable photograph and for a viewer to be unable to perceive a remarkable photograph, within the limits of both parties' capabilities. However, what is unpleasant and frequently occurs in our era is that both the photographer and the viewer, as well as those mediating between the viewer and the photographer, try to cover their fears, or their weaknesses, with the aid of extraphotographic, namely extrartistic arguments. I call these the crutches of art. It is natural for a photographer to be anxious, but their concern should be whether they can create a work that is significant to them, not whether this work will be perceived in a specific way by the viewer. Similarly, the viewer should hope to enjoy a work but should not fret if they do not enjoy it because they possibly do not understand it. If we offer the viewer a lifeline or a crutch to support their photography with means that they do not artistically respect, such as the excessive importance of the subject, excessive development of the subject, the justification for the coexistence of the photographs, and psychiatric, psychoanalytic, philosophical, and other out-of-art supports for our photographs, the huge captions, the daunting philosophical texts accompanying our photos, all these are like admitting the medium's weakness, the photography's weakness, and the photographers' inability to create something truly noteworthy and new. I recognize the fears on both sides, possibly even the legitimacy of the desire, but I would say that everyone, especially the curators of the exhibitions as well as the photographers and obviously the viewers, should be freed from the anxiety of understanding and the anxiety of enjoyment; let us let art follow its path because if there is art, it exists because there are no explanations, if there were, we would have no reason to trap it in an abstract, small rectangular surface. This surface must convey our own world but in a way that we do not understand it, not by proving that we understand it because then we would not need photography. Therefore, no to the crutches of art that support what should be left free, namely the mystery.