 In “What is Postmodernism?,” which appears as an appendix to the English edition of The Postmodern Condition, Lyotard addresses the importance of avant-garde art in terms of the aesthetic of the sublime. Modern art, he says, is emblematic of a sublime sensibility, that is, a sensibility that there is something non-presentable demanding to be put into sensible form and yet overwhelms all attempts to do so. But where modern art presents the unpresentable as a missing content within a beautiful form, as in Marcel Proust, postmodern art, exemplified by James Joyce, puts forward the unpresentable by forgoing beautiful form itself, thus denying what Kant would call the consensus of taste. Furthermore, says Lyotard, a work can become modern only if it is first postmodern, for postmodernism is not modernism at its end but in its nascent state, that is, at the moment it attempts to present the unpresentable, “and this state is constant” (Lyotard 1984 [1979], 79). The postmodern, then, is a repetition of the modern as the “new,” and this means the ever-new demand for another repetition.