The key animating term in this chapter, imagination, names an extraordinary capacity. Working across philosophy and the arts, this chapter pursues a central question: what are we when we stand before an imaginative work? What kinds of attention are we willing to grant aesthetic objects? What kind of worlds do literature and art bring into being? How is our relationship to imaginative works different from our relationship to everyday things? This chapter is concerned with the link between the world to which we belong and the imaginative worlds that aesthetic works bring into being. For it bespeaks the complex shape of personhood that we readily engage in the worlds that aesthetic artifacts hold out to us, worlds of a different order. How can we thus connect aesthetic experience with other kinds of experience: cognitive, ethical, political, sensory? The chapter ranges freely in its segments between philosophy, painting, and photography. Its case studies include works by Immanuel Kant, Jean Siméon Chardin, Jean-Baptiste Greuze, Caspar David Friedrich, Jeff Wall, and Thomas Struth.