Based on Schutzian theory the chapter explores the meaning constitution of artworks that results from the communication between author, artwork and the beholder. Comparing the literary and visual forms of art it reveals both the semiotic as well as the non semiotic elements of this constitution and detects its paradoxical structure showing that the non-everyday character of the artwork at the same time calls for an inclusion of everyday meaning elements related to action and to body in order to make the artwork's communicative presence effective.