My reflections here begin in a moment of convergence between Kunst und Christentum and a 1988 essay by Michel Henry (1922-2002), a French phenomenologist. This convergence appears in scattered remarks about the religious or sacred nature of art qua art. The claims are explicitly universal (or, more critically, totalizing). Mauer describes art's "immanent morality and religiosity," how it is a manifestation of divine glory and a vestigium Trinitatis; the artist is, of necessity, a believer. For Henry all art is sacred because of its true subject matter: "The initial theme of art and its true interest is life. At its outset, all art is sacred, and its sole concern is the supernatural. This means that it is concerned with life—not with the visible but the invisible." This paper considers visions of the finite and the infinite (of world and God, the natural and the supernatural) both expressed in and generated by these claims that art is sacred. Henry appears here both because of the provocation of his distinctions of truth, art, and life from the world, but also because the world so denied resists its denial throughout his thought. Mauer and Henry, in short, offer another opportunity to reconsider a question at least as old as Republic X: the relationship between truth, the world, and art. This comparison culminates in two key claims. The first is that provisional account of art which the eschaton will obviate. The second identifies art with the world, delineating theology's role as art's interpreter. Both accounts tend toward the reduction of art to object, whether object in the world or object for theological interpretation. The relation of art, truth, and world in Mauer and Henry is richer in part because it eludes such closure. It is reflective of the human creature who, Mauer reminds, "is not a closed being and their creation is not complete."