 Clearly, conceptual art is not the first kind of art to raise ontological concerns of this kind. After all, music and literary art, be it traditional or avant-garde, hardly present straightforward cases either. The question of what exactly constitutes, say, a novel or a musical work have been widely discussed for some time (e.g. Davies 2001; Ingarden 1973; Wollheim 1980) Building on the suggestion that artworks such as musical pieces and literary works are best understood in terms of universals or ‘types’, one view that has been widely discussed in the last two decades or so is based on the idea that not only musical and literary artworks, but all artworks, are types. More specifically, they are to be conceived of as ‘event- or action-types’ (Currie 1988). According to this theory, the artwork is thus not the material thing itself but, rather, the way in which the artist arrived at the underlying structure shared by all instances or performances of that work.