And yet, if tactile works are to be found in the fine arts overall, are there also examples of works that primarily or exclusively address touch? The simplest way to answer this is to focus on the art produced by or created for the blind. The experience of the blind calls into question the Kantian thesis of artistic experience as a synthesis between sensory delight and intellectual interpretation. For sightless subjects, hedonism and intellectualism are juxtaposed, instead of being reconciled into a synthesis: the pleasant, the beautiful and the good converge. For example, research conducted by G. Révész showed that a sculpted human face is likely to be judged as beautiful by the blind if it respects certain proportions and regularities and correctly reproduces the concept of a particular human type: man, woman, child, etc. Here beautiful means the same as pleasant to the touch and correct according to intellectual judgment.  Upon closer inspection, it turns out that current theories on the art experience of the blind and the didactic methods based upon them take as their model the art produced for seers; as a result, the art of and for the blind can be nothing else than an inferior or imperfect art.