The artwork has the power to disturb through clarity, to suspend the subject’s certainties, “to suspend reality,” as Gilles Deleuze once said. There has never been art that entered into a coalition with reality. Art is resistance against that which is, not in the name of what ought to be, but in the name of the portion of established reality that has remained nameless. In the artwork, recognized realities communicate with this resistance, denoting its ontological transience: the formlessness that resists its valid formalization. Instead of giving space to a dialectical reconciliation, the work is the place where poles that cannot be mediated cross. It marks the crossing of form and formlessness, while asserting a form that acknowledges chaos. The artwork’s autonomy remains indebted to its heteronomy. It does not appear from nothingness as if it were without conditions, but because it articulates the infinitesimal distance from its conditions. An artwork behaves toward its objective reality necessarily in a destructive way. It destroys the space of its reality because it lends to an inconsistency a consistency that demonstrates to acknowledged realities their arbitrariness.