 Young’s argument focuses on the notion of exemplification which he locates at the heart of the only kind of semantic representation and cognitive value that can be ascribed to artworks such as conceptual ones. Exemplification is a form of reference to properties by means of a sample (or exemplar). An exemplar ‘stands for some property by [non-metaphorically, literally] possessing the property’ (Young 2001, 72). In the case of conceptual art, a work then exemplifies an idea or concept. So, for example, Tom Marioni’s The Act of Drinking Beer with One’s Friends is the Highest Form of Art  (1970)[9]  – a piece involving the artist and his friends drinking beer together – is an exemplar of the idea at the heart of the work, namely that drinking beer with one’s friends is the highest art-form of all. This is the work’s statement. However, as Young points out, it doesn’t follow from the fact that something expresses a statement or has meaning that it has significant cognitive value. All things considered, the kind of statement that conceptual artworks and their like are typically able to make, according to Young, are merely truisms. If conceptual art yields cognitive value, that is to say, it tends to be so trivial that it barely deserves the name.