  Therefore the artwork involves a freedom that is not just that of the artist, but also that of the audience. In existentialist language, it is freedom considered as ‘engaged,’ that is, irreducibly caught up in engagement and forced to do something about it. Hence, Sartre offers another definition of the artwork that identifies the different poles of the metaphysical power of art: “… the writer has chosen to reveal the world and particularly to reveal man to other men so that the latter may assume full responsibility before the object which has thus been laid bare” (Sartre 1948a, 14).