  Such arguments support Gadamer’s conception of the artwork as that which stands-in-itself. That which comes to stand is intelligible as the presentation of a certain meaning, but because of the indeterminacy of that meaning it retains something of the enigmatic. This eminent quality—a genuine work can never be measured against the original way it was shown (RB 146)—Gadamer also refers to as its hermeneutic identity. The truth of an artwork is not its simple manifestation of meaning but rather the unfathomableness and depth of its meaning (PH 226). Its truth embraces a tension between revelation (what appears) and what is concealed (what has yet to be shown). The artwork does not simply offer “a recognisable surface contour” but has an inner depth of self-sufficiency which Gadamer calls after Heidegger a “standing-in-itself”. In short, the mark of a substantial work is that it veils possibilities of meaning. Such resistance is a stimulus to further interpretation. Substantive works, like significant symbols, have an opaque aspect.