 Abell argues that because she does not specify which particular respects of resemblance are necessary for depiction, her theory is consistent with the diversity constraint, in other words, it accommodates the wide variety of stylistic conventions that have developed in different artistic traditions. However, it can be objected that it fails to accommodate another alleged constraint on an adequate resemblance theory of depiction identified by Lopes, which he calls the independence constraint. According to Lopes, a spectator must be able to perceive the resemblances postulated by a resemblance theory of depiction “without first knowing” what a picture represents (Lopes 2005a: 16–17). In fact, this objection only applies to a theory which implies that a spectator perceives a certain kind of object in a picture by perceiving a resemblance between the marks on its surface and an object of this kind, and a resemblance theory need not have this implication. However, Abell accepts that the objection applies to her own theory, especially since she holds that the “respects of resemblance” that “govern” a picture depend on the artist’s communicative intentions, and that a spectator’s knowledge of these intentions is gained, at least in part, from the picture itself. However, she addresses the objection by highlighting alternative, context-specific sources of information about them (Abell 2005, 2009; cf. Blumson 2014).