This article addresses the place of art in the early thought of Heidegger—a subject he ostensibly did not explicitly address. In the first period of his intellectual work, Heidegger sought to understand the foundation of metaphysics, and the main focus of his work during this period was fundamental ontology. To understand Heidegger's approach to art in this early phase of his thought, we are inevitably led to his interpretation of Kant, as it is there that he turned his attention to the imagination [Einbildungskraft]. The central question of this article is: Can the possibility of an ontological aesthetics be derived based on fundamental ontology within Heidegger's interpretation of Kant? To answer this question, I will first address the importance of fundamental ontology in Heidegger's interpretation and show that examining the place of art in early Heidegger's thought becomes possible through his interpretation of Kant. This is because Heidegger's interpretation of Kant is itself based on the central thought of his early period, namely fundamental ontology. In this interpretation, the transcendental imagination from the first edition of the Critique of Pure Reason forms the basis of Heidegger's work. Given the interpretation that unifies all elements of Kant's philosophy on the foundation of the transcendental imagination, it can be argued that the faculty of judgment [Urteilskraft] is also rooted in the transcendental imagination. Therefore, the possibility of an ontological aesthetics in the thought of early Heidegger is verifiable.