  Many debates over monism and rivals to that position have hinged on the question of reproduction and multiple instances, the thought being that in the case of at least some works, adequate technologies of reproduction yield more than one instance of an artistic artifact, and therefore of the work (an entailment that does not go unchallenged, as we shall see below). For example, it would be highly implausible to contend that Henri Cartier-Bresson’s famous photographic work, “Behind the Gare Saint-Lazare, Paris” (1932), consists in the negative used to make prints, or in the first or any other single print of this picture. Multiply instantiated works form one major category, then, while singular or non-reproducible ones form another.