  Heidegger’s objection to aesthetic enframing, then, is not just that the work of art is increasingly falling under the influence of enframing—that artworks too are becoming mere resources for the art industry, standing reserves piled in storerooms “like potatoes in a cellar” to be quickly and efficiently “shipped like coal…or logs…from one exhibition to another” (PLT 19/GA5 3). He is even more troubled by the way art, reduced to aesthetics, does not just get enframed but participates in the enframing—for example, when the feeling of beauty is reduced to a purportedly objective brain state to be precisely measured and controlled through cognitive neuroscience.[26]