It is important to recognize, when reading his critique of literalist sensibility in “Art and Objecthood,” that his view of literalness and contingency is not that these should be abolished from artworks (as though that could ever be possible! Mallarmé reminds us that it’s not), but that the literal and contingent properties of a work should be acknowledged and incorporated into it, creating an intimate and non-arbitrary relation between a work’s literal conditions and its configuration, between its situation and its syntax. The problem is not literalness, but what one does with it.