 In 1936 Heidegger gave three lectures on ‘The Origin of the Work of Art’. In these lectures, not published until 1950 (but which Gadamer heard at the time of their original presentation, see Gadamer 1997b, 47), Heidegger connects art with truth, arguing that the essence of the artwork is not its ‘representational’ character, but rather its capacity to allow the disclosure of a world. Thus the Greek temple establishes the ‘Greek’ world and in so doing allows things to take on a particular appearance within that world. Heidegger refers to this event of disclosure as the event of ‘truth’. The sense of truth at issue here is one that Heidegger presents in explicit contrast to what he views as the traditional concept of truth as ‘correctness’. Such correctness is usually taken to consist in some form of correspondence between individual statements and the world, but so-called ‘coherence’ accounts of truth, according to which truth is a matter of the consistency of a statement with a larger body of statements, can also be viewed as based upon the same underlying notion of truth as ‘correctness’. While Heidegger does not abandon the notion of truth as ‘correctness’, he argues that it is derivative of a more basic sense of truth as what he terms ‘unconcealment’. Understood in this latter sense, truth is not a property of statements as they stand in relation to the world, but rather an event or process in and through which both the things of the world and what is said about them come to be revealed at one and the same time—the possibility of ‘correctness’ arises on the basis of just such ‘unconcealment’.