What is remarkable about Nancy's thought is less her career (marked by numerous publications, often overlapping with artistic interventions and collaborations) than her singularity. What makes it singular, that is, different from other contemporary thoughts on art and to that extent unique, is precisely the plurality from which it starts and to which it returns incessantly to depart again. Nancy does not do philosophy of art, but philosophy of the arts. The singularity and, in a strong sense, the radicalism of his thought, passes through affirming the original plurality of the arts. His thesis, reduced to its minimum expression, can be stated more or less as follows: there is no art but the arts, there are multiple and heterogeneous practices, irreducible to each other, singular and plural, mixable, combinable or articulable. There are, then, several arts, whose limits are themselves mobile and changeable, limits that move and are transformed in the doing itself, in the course of the works and through them.