  Note that Lewis considers every aesthetic essence to be “an abstraction which theoretically could be identically presented by another physical thing” (1946, 476). Similar claims to the effect that all works of art are multiple, at least in principle and qua objects of appreciation, were subsequently made by Ushenko (1953, 21–25), Peter Strawson (1959, 231, n. 1; 1974, 183), Jeanne Wacker (1960), Anthony Savile (1971), Eddie Zemach (1966, 1986), and Currie (1989). 