examines how for Merleau-Ponty the work of art opens up, without conceptualizing, the event of being. Rajiv Kaushik treats Merleau-Ponty's renderings of the artwork - specifically in his later writings during the period ranging from 1952-1961 - as a path into the being that precedes phenomenology. Replete with references to Merleau-Ponty's reflections on Matisse, Cézanne, Proust and others, and featuring Kaushik's own original reflections on various artworks, this book is guided by the notion that art does not iterate the findings of phenomenology so much as it allows phenomenology to finally discover what, as a matter of principle, it seeks: the very foundation of experience that is not itself available to thought. Kaushik is thus concerned with the ways in which the work of art restores the principle of institution, prior to the intentional structures of consciousness, so that phenomenology may settle questions concerning ontological difference, the origination of significance, and the relationship between interiority and exteriority.