The perceptual objects of the works of the second sequence contain the word this, and many contain the words this now or this here now. This is of interest to Essentialism since nothing answers to this, this now, or this here now that is not indexed to, and so dependent on, a conscious being who can understand or interpret to what the term this refers. This relation of the subject to the artwork recognizes the relation of the subject to any perceptual object on which the identity of any artwork depends, and it does so as it uses that relation in the determination of artwork identity. Works of the second sequence then investigate how artwork identity depends on, and is related to, the subject-object relationship by making the language of its works address the thisness and nowness, or the thisness, hereness, and nowness that is introduced by someone attending to that language. “There is no preexisting image that is recorded by a Haecceity artwork, nor is there something that can be either perceived visually, or comprehended intellectually, but that stands apart, as the work of art, from that perception or comprehension. Instead, given language of a sort written by the artist, and placed in a certain way within a space of apprehension, the concipient is engaged as an active participant in the determination of the identity of the work—an identity then that is comprehended as being at least partly produced in, or in relation to, its comprehension, rather than understood as an established fact or state of affairs.” – Haecceities: Essentialism, Identity, and Abstraction