  Dilworth (2005b) objects that Davies’s basic contention to the effect that works are action tokens is incompatible with his claim that works, conceived of as a particular generative performance, have a kind of “modal flexibility,” which means that the same work could have had different properties (e.g., it could have been created a few minutes earlier or later, or in a significantly different art-historical context). Davies argues that his performance theory, unlike such rivals as the indicated structure theory, is compatible with a work-relative modality. For an informative discussion of this topic, see Matheson and Caplan (2008).