 One focus of debate regarding the sublime concerns whether sublimity, according to Kant, is restricted to objects of nature, or whether there can also be sublime art; Abaci (2008) defends Kant’s restriction of sublimity to nature; Clewis (2010) defends the opposite view. For discussion of the Kantian sublime as it might apply to specific works of art, see chs. 6 and 7 of Lyotard 1988 [1991] (on Barnett Newman’s paintings as an instance of the Kantian sublime) and Myskja 2002 (which brings Kant’s notion of the sublime to bear on Samuel Beckett’s novel Molloy). Zuckert 2021 offers a clear and helpful discussion of Lyotard’s view of Kant’s account of the sublime in application to art.