An Artwork (n.) transports us further out of the ordinary the more it seems to cut all ties to human beings.
An Artwork (n.) is not a piece of equipment with an aesthetic value stuck on top, any more than a bare thing is equipment that happens to lack usefulness.
An Artwork (n.) is so irremovably thingly that we must say the building is in stone, the painting in color, the poem in speech, the music in sound.
An Artwork (n.) lets us know what things are in truth: in the nearness of Van Gogh's painting we were suddenly somewhere else than we usually tend to be.
An Artwork (n.) that opens itself more essentially makes more luminous the uniqueness of the fact that it is rather than is not — and becomes more strange and solitary.
Artwork (n.) could never show itself to anyone if all thinking objectified — we would turn what appears into an object at once and so prevent it from appearing.
An Artwork (n.) makes not something true but truth itself happen: the more simply the shoes are engrossed in their essence, the more all beings gain in being along with them.
An Artwork (n.) is a work not because it is worked or made but because it puts Being to work in a being — through it everything else first becomes visible as a being, or an unbeing.
An Artwork (n.) affects nothing by cause and effect; its working is a change, from out of the work, in the unconcealment of beings — that is, in Being.
An Artwork (n.) does not settle the strife of world and earth by an insipid agreement; it instigates it, so that the strife may remain a strife — and its repose is the intimacy of that strife.
An Artwork (n.) in its untouched actuality is as naturally present as a thing: the picture hangs on the wall like a rifle or a hat, and Beethoven's quartets lie in the publisher's storeroom like potatoes in a cellar.