The problems of art boundaries, its ontological status, and content value are now among the most significant in modern aesthetics. Artistic practice has consistently demonstrated the boundary mobility in art and problematized the concept of artistic sense. It is in the philosophy of Martin Heidegger, however, where the ontological approach to aesthetics is rethought and given a new level of momentous. Ontology has traditionally represented as something objective, which is not connected with the measurement of cognitive and practical human activity; in Heidegger’s interpretation, this is associated with the being-in-the-presence, but presence is not as itself, but in the mind. The extrasensory area to which a work of art refers to in the history of aesthetics has consolidated itself as being in its "unconcealedness".