 In Goodman’s (1976) account of aesthetic representation the idea is that a work of art does not just denote its subject, but moreover it represents it as being thus or so (see the SEP entry on  Goodman’s aesthetics  for further discussion). Elgin (2010) further developed this account and, crucially, suggested that it also applies to scientific representations. We first discuss Goodman and Elgin’s notion of representation-as and then consider a recent extension of their framework.