Works of art therefore present us with an “immanent utopia” of experience, that is, with the vision of a form of experience that is ordered and unified by a constitutive “standpoint” (GW 16: 82) such that form and content are completely appropriate for each other. Because of these features, such an experience embodies a maximum of objectivity in the subject’s relation to an object completely appropriate to its subjectivity (GW 17: 100). This finally answers the question regarding the a priori conditions of art: as an ideal of a particular kind of possible experience, the work of art is always historically specific. However, both the potentiality to become a totality in virtue of their form and the normative demand to do so are timeless, a priori conditions of the possibility of works of art in the Neo-Kantian sense (GW 16: 168).