 Exemplification—the sort of reference typical, for instance, of tailors’ swatches—requires possession. In addition to possession, however, which of course by itself is not a form of symbolization, exemplification requires that the exemplifying symbol refers back to the label or predicate that denotes it. Hence, exemplification is “possession plus reference” (Goodman 1976, 53). When a feature is referred to in this way, it is “exhibited, typified, shown forth” (Goodman 1976, 86). While any blue object is denoted by the label “blue,” only those things—e.g., blue color swatches—that also refer to “blue” and analogous labels exemplify such color, are “samples” of it. An important characteristic of samples is that they are selective in the way they function symbolically (see also Goodman 1978a, 63–70). A tailor’s swatch does not exemplify all of the features it possesses—or all the predicates that denote it—but rather only those for which it is a symbol (hence, e.g., predicates denoting color and texture, and not predicates denoting size or shape). Which of its properties does a sample exemplify depends on the system within which the sample is being used: color and texture are relevant to the systems used in tailoring, not size and shape. Exemplification is for Goodman a common and yet, philosophically, unrecognized form of reference. Indeed, throughout his own philosophical oeuvre, we find Goodman using exemplification to explain a number of issues: most notably, expression in art, but also, for instance, the notion of artistic style (1975), how works of architecture can be attributed meaning (1985), or the notion of a “variation upon a theme” in such arts as music and painting (Goodman, Elgin 1988, Chap. 4).