Classificatory theory of artistic styles in Africa is still being developed. In the first stylistic class(the traditionalists), the art objects, with few exceptions, are functional. In the second stylistic class (the non college-trained modernists), the art objects, also with lew exceptions, lack aesthetic consideration because of the commercial mentality of the artists. In the third class (the college-trained modernists), the art objects can hardly be called African because of their Western style and in adequate articulation. A classificatory theory is put forward with particular reference to the attendant philosophies and roles of the three classes. Then a critique of the college-trained modernists is offered, giving reference to the beginning of their philosophy and the rejection of the artists works ad African. Many art styles have evolved in sub-Sa-Haran, contemporary African societies. These styles have been categorized into three major groups: traditional, transitional, and modern(Okeke, 1971). For the following discussion, these three broad categories will be specifically defined as traditionisr noncollege-trained modernist, and college-traned modernist, However, it is the latter group-the college-trained modernists that has exerted major influence over contemporary African art styles.