 As is the case for Goodman’s analysis of depiction, with regard to exemplification and expression in art, too, one wonders whether Goodman’s claims are meant to provide an exhaustive account of such notions, and not rather just a very general, structural, analysis of them. Whichever the case, Goodman’s proposal is much more acceptable at that general level. More specific claims, such as that expression and exemplification are relative to the conventionally established symbol systems at work, like the analogous claim regarding representation, prompt questions on the necessity, for Goodman, to recognize naturalistic constraints on what can be exemplified, or expressed, or represented by what. More importantly, when we examine specific cases, it becomes unclear whether the distinction between exemplification in general and expression in particular has been well drawn. Since, for Goodman, not only feelings and emotions can be expressed but also such properties as color or sound pitch, one wonders what notion “expressing red,” said of a non-red symbol, amounts to: how different is it from the notion referred to by “expressing sadness” said of something (a musical sonata) that literally is not sad? Furthermore, as a more general concern on Goodman’s project of accounting for the nature, interpretation, and values of artworks fully extensionalistically (i.e., just in terms only of what they refer to), one wonders whether the role of property possession is not undermined by Goodman’s insistence on what a work exemplifies. Certainly, works of art have significant features that they simply possess, without also exemplifying them. A work of art may have to be recognized as, e.g., calm just in the sense of having such feature (if needed, having it metaphorically), and such feature be recognized as relevant to the work’s nature and value—as something that the beholder ought to perceive—without it being the case that the work exemplifies or expresses calmness.