This paper addresses the problem of how one constitutes the world inherent to the artwork, for example, a literary work of art, a painting, a theatre play or a movie. Some art works function to provoke us to comprehend them in our aesthetic experiences as presenting the world, which is different from our actual life world and which is constituted in the relevant work of art. How shall one understand the structure of these experiences? What is the essence of the world constituted in these experiences? The planned paper will address these questions by exploring the interwar contributions of Roman Ingarden and Leopold Blaustein, who both had the opportunity to study under Husserl (although in different periods) and subsequently worked together on similar topics in the 1920s and 1930s in Lvov (now Lviv in Ukraine). Whereas Ingarden explored ontological issues of how the world of art works, ultimately defining it as a purely intentional object, Blaustein coined the term “imaginative world of art” to describe different types of aesthetic experiences. In the paper, I will juxtapose both theories by asking about overlapping topics (e.g., the question of the “quasi” characteristic of the world or the problem of schematic structure of the world of art works) and differences (e.g., ontological vs. psychological approaches in phenomenology). One of the key problems I plan to discuss is the relationship between objects of the represented world as the world as a whole, which is composed of these objects. It is also planned to juxtapose both theories in the context of exemplary cases of art works, e.g., how the world of a novel is constituted.