Two representatives of French phenomenology – Maurice Merleau-Ponty and Henri Maldiney – delineate an area of thought which Husserl did not, or rather did not work out completely, and they explore the potential of Husserl’s philosophy, revealing the significance of art in the phenomenological inquiry. At first glance, their reflections seem to be in opposition to one another, but Maldiney’s phenomenology turns out to be deeply rooted in that which is ‘not well thought out’ in Merleau-Ponty’s philosophy. Both Merleau-Ponty and Maldiney underscore the significance of our corporeal being in the world. They also radicalize Husserl’s thought. In The Visible and the Invisible, Merleau-Ponty describes the Chiasm – the intertwining of all dimensions of being, and he also describes untamed, innervated being, a living corporeal layer, leading to the very limits of philosophical language. Maldiney, meanwhile, attempts to study absolute receptivity, and thus the passivity of the subject, concentrating on the experiences of a crisis, uniquely understood, which in his view enables subjectivity to be constituted. Moreover, Maldiney criticizes perception as always being objectifying, recognizing experience or sensing (sentir) as the basis of our contact with the world. It is worth inquiring, however, whether the category of perception in Merleau-Ponty’s phenomenology is not in the end strictly experiential, and thus significantly closer to Maldiney’s descriptions than he himself explicitly admits. We attempt to answer this question, concentrating on two main themes taken up by both French philosophers; on two shadows cast by both of them: the body and art.