  Many philosophers (e.g., Wolterstorff 1980, Kivy 1987, Currie 1989) have thought that this paradox is best resolved by rejecting (A). For others, such as Haig Khatchadourian (1960) and Renée Cox (1985), (A) is true; works of art should be recognized as items that come into existence and can be destroyed. Given this premise, which is defended at length by Charles Nussbaum (2003), the trio may be interpreted as a reductio of (B). Yet giving up on (B) would seem to require us to overlook the obvious fact that we commonly speak of a musical work as being repeatable. Cannot the same recorded song be replayed on multiple occasions? Another strategy is to restore coherence by revising only (C). Margaret MacDonald (1952–1953) proposes that works are abstract types that are genuinely created by the artist or author. Similarly, Thomasson argues that at least some works of art (i.e., musical and literary works) are a kind of “abstract artifact” meriting recognition as genuine creations (1999, 2005, 2006a, 2006b, 2010). Barry Smith (2008) also argues for what he calls ‘quasi-abstract patterns’, which like numbers are nonphysical and nonpsychological, but which are tied, through the actions of agents, to a time and historical context. Anthony Ralls (1972) characterizes works as created universals concretely embodied through the intentional activities of artists. Peter Alward (2004) contends that the paradox is generated by inappropriate assumptions about types, and that genuine artistic creation is compatible with a continuant/stage model of works and performances. Lee Walters (2013) argues for a solution to the paradox based on the thesis that works are created types. He responds to an array of objections to this approach, including those advanced in Allan Hazlett (2012).