Philosophical and theoretical interpretations of the second half of the 20th century suggested the absence of the material basis of a work of art as its necessary transformation in order to preserve its existence (Danto, Belting, Agamben, De Duve, etc.). However, as Georges Didi-Huberman pointed out, works of art are still present for the viewer at the moment of perception, or rather, they are anachronistic with respect to their origin. For the art historian, therefore, it is necessary to ask how and under what circumstances does contemporary viewer construct his knowledge of a historical work of art that becomes a virtual dimension of his space on the basis of a historical perception of the surrounding reality? Is it possible to think of a biologically-legitimate assumption of any viewer, or is it possible to define cultural determinism regardless of historical transformations? The paper will offer answers to these questions, on the one hand, by the example of the individual human “tacit knowing,” as formulated by the Hungarian philosopher Michael Polanyi, and on the other hand, by the example of the understanding of cultural determinacy in the technical appropriation of space, as formulated by the Italian aesthetician Renato Barilli. By combining their reasoning, it is possible to formulate the importance of perspective for the contemporary knowledge of the work of art as the basis for the noetic re-construction of reality in individual vision.