  In sum, great art works by selectively focusing an historical community’s tacit sense of what is and what matters and reflecting it back to that community, which thereby comes implicitly to understand itself in the light of this artwork. Artworks thus function as ontological paradigms, serving their communities both as “models of” and “models for” reality, which means (as Dreyfus nicely puts it) that artworks can variously “manifest,” “articulate,” or even “reconfigure” the historical ontologies undergirding their cultural  worlds.[7] Heidegger suggests, in other words, that art can accomplish its world-disclosing work on at least three different orders of magnitude: (1) micro-paradigms he will later calls “things thinging,” which help us become aware of what matters most deeply to us; (2) paradigmatic artworks like Van Gogh’s painting and Hölderlin’s poetry, which disclose how art itself works; and (3) macro-paradigmatic “great” works of art like the Greek temple and tragic drama (works Heidegger also sometimes calls “gods”), which succeed in fundamentally transforming an historical community’s “understanding of being,” its most basic and ultimate understanding of what is and what  matters.[8]