  Thomasson (2005) argues that the relevant sortals yield only vague and incomplete identity and persistence conditions. As a result, some questions in the ontology of art admit of no precise answers. A good example would be the question of just how faulty a performance of a difficult composition can be and still count as a performance of the work. She also holds that there is no justifiable response to the question of whether a poem has actually been created when the poet has a complete sequence of words in mind but has never spoken it aloud or written it down (2005, 227). Thomasson’s skepticism, however, is a limited one: some art-ontological questions do have determinate answers about which sufficiently well-informed practitioners in the world of art could not be wrong. Thomasson reasons that competent users of the discourse successfully refer to particular novels, paintings, and symphonies, so they must have reliable concepts when it comes to the relevant art kinds. Thomasson does not, however, believe that the same argument works for the more general concept, work of art.