Yes. But again, in Photoshop, I see zero differences in how Absolute vs. RelCol convert from ProPhoto RGB let alone Adobe RGB (1998) with ACE. When I toggle to Apple CMM, the differences noted are absolutely awful appearing so I can't fathom why anyone would do so. Can you? A
Sure. I can explain what's going on with Microsoft and Apples (now I know Apple also isn't abiding by the ICC's clarification) engines.
When you have an image in an RGB D50 media space, like ProPhoto, the convert to Adobe RGB or sRGB the Absolute Intent in Apple and Microsoft's engines attempts to create the same "colors" that are would occur if the displays were switched from D50 to D65. To do that they strongly yellow tint the image. It's highly problematic since most people set their monitors independently of the working space's "media whitepoint" and usually at the same CCT regardless of working space. The ICC recognizes this. Apple and Microsoft apparently do not.
The only possible use of something like that is if you have an image you want to paste into a printable image, possibly inserted into a "monitor" screen and want it to reflect the difference between the D50 of a print and the D65 of a typical monitor. In that case you would convert the image from sRGB to ProPhoto using Abs. Col. with either the Microsoft or Apple engine then paste it into the "monitor's" face.
That extreme corner case aside, it's still problematic. Any full white (RGB 255,255,255) will be luminance clipped because either the reds or blues would need to go above 255 it get the same luminance of "white" post conversion. You can see this by converting from sRGB to ProPhoto and back again to sRGB using Abs. Col and one of these screwy engines. The white is no longer 255,255,255. In the case of ProPhoto->sRGB->ProPhoto the white is changed to 245,253,253. It's not even a neutral color because of the conversion clipping at 255. Pretty obvious why the ICC indicated color engines should not do this.