Much art theory finds its origin in literary theory. For example, Martin Heidegger wrote of ‘the fusion of horizons’ where the narrative of the text happily fuses with the narrative of the reader’s life. It is at this moment of connection that, according to Heidegger, meaning is found. It is a claim of the Intentists that in certain fundamental areas this cross-over is not valid. In literature the author has a ‘linear order of expectation’ for the text since the viewer will normally start at the beginning and read letters sequentially until the end. However, this approach is not appropriate for all the static arts. Many paintings and sculptures are anarrative as viewers can approach the work in multiple orders. Of course, artists can influence a viewer by using colour and shape to highlight certain areas, however, it is highly unlikely for two viewers to make the same visual journey around an artwork. Therefore, ignoring the artist’s intentions based on the fusion of horizons is a weak argument.

An example of an Intentist artist whose work intentionally seeks to limit any rigid order of expectation is painter Govinda Sah.