The Work of art (n.) is an expression of the will to power, not not only because it is the exertion of power over others by making them see the world in a certain way, but one is also expressing one's power over the world itself by submitting it to one's own point of view.
The Work of art (n.) is concerned not just with interpreting the world in a certain way, and persuading others to share that interpretation, but with submitting the very world itself to one's point of view.
The Work of art (n.) is incapable of achieving the expression of a vision, but insofar as it represents the artist's tremendous lust for a vision, it lends to the artist a tremendous eloquence of desire and craving, which, in turn, lifts the listener above the work of art and above the artist.
The Work of art (n.) excites the state which creates art: aesthetic intoxication.
The Work of art (n.) belongs either to monologic art or to art before witnesses: the artist either watches his growing work with the eye of the witness or has forgotten the world.
A Work of art (n.) is what man himself becomes in the Dionysian state: no longer an artist, he has become a work of art.
A Work of art (n.) should cost three-quarter strength at most, if it is to seem healthy; all good things are easygoing and lie like cows in the meadow.
A Work of art (n.) is like wine: better to need neither, keep to water, and by one's own inner fire turn the water into wine.
A Work of art (n.) can appear without an artist — as a body, an organization, a Jesuit order — and the world itself is a work of art that gives birth to itself.
A Work of art (n.) can appear without an artist — as a body, as an organisation like the Prussian officer corps or the Jesuit order; the world is a work of art giving birth to itself.