In this chapter, I argue that Kant’s conception of aesthetic judgment in the third Critique, a conception according to which aesthetic judgment has its own a priori principle, left open the possibility for a pure aesthetic judgment of ugliness. This judgment however could not arise in response to a quality in the object of nature, but instead could only be limited to works of art. More specifically, the origin of ugliness as a pure aesthetic category for Kant is epistemic, that is, in the failure of the artist’s power of judgment, a failure of the artist to find the appropriate form or concept for the manifold content of her imagination. In the third Critique, Kant calls these works of art “original nonsense.” I conclude that, once limited to works of art, pure judgments of ugliness cannot represent a threat to Kant’s more general project of moral teleology.