Hannah Arendt is a philosopher tied to the classical world and consequently she considers limitlessness as the worst of evils. Consistent with this assertion, she continuously sets limits meant to “save the phenomena” from a flux that threatens to dissolve them into pure potentia. However, the aim of this essay is to demonstrate that the strategic element in which Arendt’s thought moves is precisely the infinite: the spatiotemporal limit that turns the environment into a home is established through exposure to an excess. Thus, the world is not an intentional ‘work,’ an ergon, and no human activity is ergonomic in relation to the world. Worldliness, therefore, is not merely the existence of the world; rather, it is the infinity that takes root in a specific space-time but exceeds it and, in doing so, constitutes it. The work of art perfectly exemplifies this sense of worldliness because its specific characteristic is not resistance to the wear of time, but the fact of being a thing made of thought, a liminal being that exists in the world to the extent that it forces an excess within it. Similarly, humans create a world when, like Benjamin’s angel, they enter into it by turning their backs to it, gazing into the infinite.