This paper focuses on Jeanne Delhomme’s thoughts on the nature of art in relation to her concept of philosophy as the creation of various ways of approaching the real, of the plurality of “modalities” in considering the real. We follow those features of Delhomme’s description of the nature of art, which seem to us reminiscent of certain aspects of Levinas’s concept of art. To wit, and similarly to Levinas, Delhomme emphasizes the nature of a work of art as an expression of a timeless objectivity or perennially existing virtuality of the essence. We also highlight the purpose of Delhomme’s interpretation of Mikel Dufrenne’s concept of “a priori” as the original “affinity” or “connaturallity” of object and subject. According to Delhomme, various “a prioris,” as expressed by works of art, offer divergent and mutually incompatible “possibilities” of the real. In that regard, it is noted that Delhomme emphasizes the illogical, indefinable nature of the a priori expressed by an artwork, despite the evidence of the specific nature of such an a priori. Our suggestion is that Delhomme’s considerations demonstrate that the status of artwork is highly similar to the nature of philosophical inquiry, which is always particular. In comparison with a work of art, however, such an inquiry is the result of a more reflexive and discursive infinite “questioning” which Delhomme speaks of.