 Many works of art are typical artifacts, ontologically no more or less mysterious than hats or hacksaws. Vermeer’s Girl with a Pearl Earring has extraordinary aesthetic qualities, but otherwise it is just a concrete, spatiotemporal object, created by someone and straightforwardly subject to change and destruction. Not so with Amy Beach’s Gaelic Symphony, which we hesitate to identify with its performances, singly or collectively, and which therefore does not appear to be located in time and space. However, it does purport to have a creator, and may perhaps be destroyed if all traces of its performances and scores are wiped away. A symphony is a so-called repeatable work of art, that is, a work with multiple instances. Performance arts of all kinds fall into this category, but so do cast sculptures, limited edition prints, art photographs, films, and the like. So understanding the ontology of repeatable works is a central task for philosophy of art.