"It is easy to see that the mimetic image is inscribed in art. Every painting, every sculpture, every photograph wants to be a second body And it is easy to see that the apparitional, instantaneous image is also inscribed in the work of art. Modern works of art, according to Theodor Adorno, are "ashamed" of their apparitional quality but are unable to shed it. "If the deities of antiquity," Adorno wrote, "were said to appear fleetingly at their cult sites .. . this act of appearing became the law of the permanence of artworks, but at the price of the living incarnation of what appears." It is harder to see that the work of art is already inscribed in every image, even in the supposedly pre-aesthetic artifact like the effigy and the mask. Emile Durkheim recognized this fact when he observed that "art is not merely an external ornament with which the [religious] cult has adorned itself in order to dissimulate certain of its features which may be too austere and too rude; but rather, in itself, the cult is something aesthetic."' The image is thus best understood not as the origin but as the destination of art."