 The complexity of the approach invites caution towards dismissing Goodman’s reasoning on the grounds of alleged counterexamples. It is quite clear how Goodman, throughout his work, takes himself as mostly offering “suggestions” towards a theory, not yet a complete one. Further, what he says about architecture, and the art form’s being a “mixed and transitional” case, or about drama, and its comprising, in the text of the play, “score” and “script,” suggests looking at ways, which Goodman seems to foresee, of combining parts of his account, and achieving more fine-grained results than the mere verdict on whether an art form is allographic or autographic, notational or not. Hence, in addition to what mentioned above about poetry and cinema, it is worth wondering what Goodman could say of certain forms of installation and conceptual art. For example, when Sol LeWitt gave instructions to create hisWall Drawings (works that were, then, realized by other individuals), was he producing works that represent an insurmountable challenge to Goodman’s distinctions (cf. Pillow 2003)? One possibility would be to consider LeWitt’s instructions as a “script,” which could in itself be counted as an artwork (much as a literary work), but, also, as instructions for the production of distinct works, constituted by the drawings actually realized. Such drawings, in turn, could be considered variations on the “theme” indicated by those instructions, while each an individual work, a concrete “sketch”; or, perhaps, each of LeWitt’s Wall Drawings is best considered a work with unusual mereology, a compound made of the “sketches”—one by one or all together —and those instructions. Whatever the answer to the questions arising in individual cases, the Goodmanian framework, with all its limits and underdeveloped areas, can clearly offer a range of possibilities and conceptual intersections. Somewhat relatedly, Goodman’s willingness to claim that there are cases, as with the class of performances of a John Cage’s composition embodied in a non-conventional score that qualifies as a “sketch,” in which work identity fails to be established (Goodman 1972b, 83-84), may be worthy of further consideration, as the various developments within art may have to make room for cases in which the identity of a work is uncertain. 