  In attributing artistic and aesthetic modes of existence to works, Gilson adverted to a physical object’s relation to the experiences and actions of cognizing subjects. Similarly, a long series of philosophers have taken subjective relations and experiences to be crucial to answering the question of the existence of works of art. It has often been proposed, for example, that works are at least in part a product of the imagination, and this not merely in the sense that some artist must imagine what sort of thing he or she wants to make or do if a work of art is to be brought into existence.  Instead, the thought is that even the existence or reality of a completed work of art continues to depend on the make-believe or imaginative activity of the artist or some other subject, such as the observer or reader who appreciates the work as a work of art.