 The proposal, though interesting, is not without its own difficulties. One problem that immediately arises relates to the idea of resemblance itself, and the way it rapidly expands in such a way as to render it close to useless. This is for the simple reason that we can always find some way in which some given thing may be said to resemble any other given thing. This kind of openness, it is important to note, is not something that fits in with the programme of conceptual art. Whilst conceptual art does hold that any kind of object could be a work of art, it is not saying that every object is a work of art. Far from it. Much conceptual art, in exploring the boundaries between the realms of the artistic and that of function and utility, is perceptually indistinguishable from non-art, such as Andy Warhol’s Brillo Boxes. In that sense, conceptual art presents a particularly difficult case for the neo-Wittgensteinian method of identification. After all, the only way in which Warhol’s Brillo Boxes does not resemble any other stack of Brillo Boxes is the sense in which the former is a work of art and the latter is not. The notion of resemblance is clearly of little use here.