Let us suppose that one makes the acquaintance of a person who is handsome and attractive but impenetrable, because he carries a secret with him. It would be reprehensible to want to pry. Still, it would surely be permissible to inquire whether he has any siblings and whether their nature could not perhaps explain somewhat the enigmatic character of the stranger. In just this way critique seeks to discover siblings of the work of art. And all genuine works have their siblings in the realm of philosophy. It is, after all, precisely these figures in which the ideal of philosophy’s problem appears. (Benjamin 2004c: 333)