  Rather than forcing Heidegger to develop an entire art history, the normative demands of his critical project only require him to focus on two crucial historical moments in Western humanity’s changing historical understanding of art—a kind of before and after, as it were, which contrasts the fullness of what has been possible with the narrowness of what is currently actual. Heidegger is thus primarily concerned to show, first, how the ancient Greeks encountered art in a non-aesthetic way (and so enshrined it in their temples), and second, how art is typically understood and experienced by us late moderns, who remain caught in the grip of modern aesthetics and so under the influence of “modern subjectivism” (PLT 76/GA5 63). As subjectivism’s unlimited ambition to establish “mastery over the totality of what-is” (QCT 132/GA5 92) works to objectify even modernity’s vaunted subject, moreover, it increasingly transforms modern subjectivism into late-modern “enframing” (as we saw in 2.7).