Aesthetic criticism very often has been overlooked and considered a lesser form. However, many interpretations, applications and discernments can be obtained from this kind of art writing. Using Osvaldo Sánchez's work as a case study, this thesis examines how writerly art criticism offers an active reading framework of the work of art by using philosophical, literary and poetic constructions. In this regard, I will see how the "writerly" condition has contributed compelling insights to the History of Aesthetics, highlighting the connections and disconnections between Sánchez and other writerly critics, which demonstrates the significance of developing a flexible, available and aesthetic learning model of art appreciation. I will analyze as well various models of experience, subjective and objective, that release certain "openness" as a premise for their existences. Here are included the Kantian sublime, Heidegger's ontological Being, the surrealist cultivation of chance, Kaprow's happenings, and the attitude of disinterest developed by the vanishing poets as defended by the scholar Rafael Hernández Rodríguez. I will show that, by choosing an accommodating approach to discover forms of knowledge, an assortment of valuable empirical content can be found. Finally, I investigate the writerly work of Cuban critic Osvaldo Sánchez that does not adopt a fixed critical pattern. Instead, Sánchez's art writing passes through fields, providing us with a heuristic methodology in which the aesthetic emerges not as a preconditioned set of principles/procedures, but as a true lived experience.