  The second point Heidegger is trying to make is that when artworks become objects for subjects to have particularly meaningful experiences of, these artworks themselves also get understood thereby as meaningful expressions of an artistic subject’s own life experiences. Heidegger does not ever develop any argument for this point; the thought simply seems to be that once aesthetics understands artworks as objects of which we can have meaningful experiences, it is only logical to conceive of these art objects themselves in an isomorphic way, as meaningful expressions of the lives of the artists who created them. Still, this alleged isomorphism of aesthetic “expression and impression” is not immediately  obvious.[15] Think, for example, about the seriously playful “found art” tradition in Surrealism, dada, Fluxus, and their heirs, a tradition in which ordinary objects get seditiously appropriated as “art.” (The continuing influence of Marcel Duchamp’s “readymade” remains visible in everything from Andy Warhol’s meticulously reconstructed  “Brillo Boxes” (1964) to Ruben Ochoa’s large-scale installations of industrial detritus such as broken concrete, rebar, and chain-link fencing, such as  “Ideal Disjuncture” (2008). Vattimo thus suggests that Duchamp’s “Fountain” illustrates the way an artwork can disclose a new world, a world in which high art comes to celebrate not only the trivial and ordinary but also the vulgar and even the  obscene.)[16] This tradition initially seems like a series of deliberate counter-examples to the aesthetic assumption that artworks are meaningful expressions of an artist’s own subjectivity.