 According to a phenomenological theme that Henry traces back to Husserl and Heidegger, the world is not limited to any existing world, but includes in itself the possibility of creating new fields of experience for the human. Art would thus be such a possibility, insofar as the artist surpasses “habitual facticity” and establishes through the work of art a dimension of being that is “absolutely specific” and “original”. Above all art reveals, through its ability to create a new ontological dimension, a more fundamental reality than the world itself, namely “the possibility of world” as such. In this sense, art reveals that which is ordinarily concealed: “a pure appearing that brings things into visibility” (AP 284). In other words, if things are given to us in an immediate way—when we perceive bodies and, to a certain extent, our own body—such thematic givenness is only possible because space is given in a non-thematic way, as Kant’s Transcendental Aesthetic already emphasizes. Space is, therefore, not what we perceive but that which allows perception. As Henry argues, this is the kind of role that Heidegger attributes to the world insofar as it is not the sum of beings anymore, but the condition of their appearing. Thus, by creating “a world”, art reveals precisely this form of original appearing. Beyond the things perceived, art “make[s] us see the appearing that conceals itself and in which the thing unveils itself” (AP 284).