  This “highest” truth of art for which Heidegger still hopes, however, is not Hegel’s “certainty of the absolute” (GA5 68 note a). That is, Heidegger does not hold out hope for some perfect correspondence between (1) the historically-unfolding “concept” Hegel believed was implicit in the development of humanity’s intersubjective self-understanding and (2) an objective manifestation of that intersubjective self-understanding in art. Thus, in Hegel’s most famous example, the tragic conflict between Antigone and Creon in Sophocles’ Antigone perfectly embodied the fundamental but as of yet unresolved ethical conflicts—between conscience and law, the family and the state, and so on—which had arisen implicitly in the intersubjective self-understanding of fifth-century Athens. Hegel thinks it is no longer possible for an artwork to perfectly express the tensions implicit in the self-understanding of the age and thereby call for an historical people to envision a future age in which those tensions would be resolved (because this role was taken over by religion and then by philosophy as our historical self-understanding grew increasingly complex). Heidegger, however, continues to hope for even more, namely, an artwork that already embodies the transition between this age and the next and which is thus capable of helping to inaugurate that future age, here and now.