 Goodman’s suggestions on the role of exemplification in art are in many ways enlightening. Applied to art, the notion seems to provide semantic theories, like Goodman’s, with a way to justify the attention we pay, not just to what an artwork symbolizes, by to the artwork itself: we do so because we are made privy of, and are interested in, those of a work’s features that are shown forth, i.e., exemplified (cf. van der Berg 2012, 603). The notion allows to expand the number of features that are deemed significant in a work, while still explaining such significance in referential terms. A poem, for instance, is not just a representational symbol; typically, what a poetic work exemplifies is as important to its meaning and artistic value as what the work represents. Accordingly, the goal of the translator must be “maximal preservation of what the original exemplifies as well as of what it says” (1976, 60). As for expression, expanding the scope of the properties that can be metaphorically exemplified, beyond the strictly emotional ones, adds explanatory power to the theory, making it possible to say, e.g., that a sculpture expresses fluidity (cf. Robinson 2000, 216).