 Art has a general importance to the knowledge enterprise, which is addressed with special clarity in Ways of Worldmaking. A primary thesis in that work “is that the arts must be taken no less seriously than the sciences as modes of discovery, creation, and enlargement of knowledge in the broad sense of advancement of the understanding, and thus that the philosophy of art should be conceived as an integral part of metaphysics and epistemology” (1978a, 102). A more general thesis of the book is that the multiple and competing “versions” of the world that humankind makes—through scientific theories (claiming, e.g., that the Sun is the center of the universe, or claiming that the Earth is) but also through mythology, art, philosophy, and so on and so forth—literally make worlds; they “fabricate” what we call “facts.” And there isn’t just one, all-embracing version of the world: multiple and incompatible versions are possible. That is, Goodman is a constructivist and a relativist. His relativism, however, is not one of laissez-faire: versions can be distinguished between right and wrong, and indeed attempts to construct a world may fail. For the worlds that Goodman posits are not possible worlds brought about by possible descriptions of the world. Rather, when the versions are right, they are all part of the actual world.