You will adjust without even realizing. You'll change your pitch to sound right in relation to everyone around you. This probably means that in practice your finger is slightly up or down depending.
It is also a reason why when playing an A, many prefer moving the hand to 4th position on the D string, rather than using the A-string with no finger. Partly because you can make a better tone (add vibrato if wanted), but you can also intonate.
> You will adjust without even realizing. […] This probably means
This might be true once in a while on very slow chords or the final resolving chord of a piece, maybe, but this sounds like assumption to me based on it being theoretically possible, and not evidence that it actually happens often. From experience, it sure seems like years upon years of equal tone muscle memory, from having to play with other instruments, is far more likely to dominate finger placement. Not to mention everyone being used to equal tone - having equal tone sensibility as to what sounds right. Sounding right in relation to everyone around you is still valid in 12-TET. Enharmonic micro intonations are almost certainly not happening during fast sequences, and because of that, the argument that it’s subconscious and imperceptible seems implausible - professional musicians absolutely would notice a change in finger placement depending on context, because of key changes, because of abrupt fast-slow resolutions, because of chords and arpeggios and situations where open strings are called for, etc. etc..
It is also a reason why when playing an A, many prefer moving the hand to 4th position on the D string, rather than using the A-string with no finger. Partly because you can make a better tone (add vibrato if wanted), but you can also intonate.