Challenging the age-old assumption of the division between the concept of form in Western metaphysics from Plato to Kant and the Hegelian/Marxist notion of the term, this paper argues that Woolf’s concept of form anticipates and even pushes one step further the dialectical notion of totality. A close reading of Woolf’s observations concerning form enables us to see that Woolf in fact significantly deviates from Bloomsbury art critic Clive Bell’s notion of significant form and his overall aesthetic formalism, far from incorporating his views as commonly believed. Unlike Bell’s theory Woolf puts forward an idea of form that assumes the connection between the part and the whole-not in the sense that the latter as an a priori principle determines the former, but in the sense that they are dialectically related and mutually constructive. In its resistance to a static, idealistic, or even totalistic notion of reality, Woolf’s notion of form has some affinity with what Karel Kosik terms “concrete totality.” Woolf even moves beyond the dialectical concept of totality or any other theories of form as she constantly raises a very important question of ‘who’ thinks the form. The near obsession with various forms in The Waves is a case in point. The novel illustrates how Bernard’s evocation of rings and lines, Louis’s steel rings and chains, and Rhoda’s loops and bubbles at once disclose and undermine the sense of social unification tied up with imperial sentiment by constantly inviting us to look at who, in what context, think these forms. In this way, the novel fights against the ideological ossification that frequently accompanies the concept of form and opens up a possibility to imagine a more inclusive, anti-imperialist model of self and community coming into being, not by means of telling us what to think, but by means of illustrating us how to think of form-form as reality and/or reality as form.