Is the wildly popular “Hamilton,” unveiled to the world in 2015, a classic? Do we know yet if it is a transcendent touchstone of American culture, in the manner of a Sinatra, a Sondheim, or even a Dolly Parton? Does it merit this recognition before, say, Aaron Copland’s “Fanfare for the Common Man” or Lorraine Hansberry’s “A Raisin in the Sun” or Duke Ellington’s jazz compositions? Surely not. In this sense, the Kennedy Center is taking a risk with its long game, and messing with the mission of the Honors. Which is to say that the Honors have long sought to set in stone artistic achievement — not be part of the original, taste-making plaster.