 The main questions critics have raised about Kulvicki’s theory are as follows. First, it is designed to avoid some of the objections to Goodman’s theory, notably the fact that there are digital pictures as well as analog ones, but other objections remain, especially those concerning Goodman’s doctrine that denotation is “the core of representation”. Second, it is unclear what role Kulvicki accords to the artist’s intention in the theory of depiction. The question is ignored in Kulvicki 2006, as it is in Goodman 1968. In Kulvicki 2014, by contrast, he suggests that pictures “represent in virtue of the intentions of their makers” (2014: 156), but he does not discuss the scope of this principle (e.g., whether it applies to the sense or reference of a picture, or to both) or how precisely the role of intention should be defined. Finally, Kulvicki’s explicit disagreement with Goodman focuses on how the relationships between the symbols in a pictorial system should be defined. But it is debatable whether the four conditions he stipulates are in fact necessary and sufficient for depiction. Some alleged counter-examples are discussed in Blumson 2011, Newall 2011, and Kulvicki 2012.