 With regard to two visually indiscernible paintings, an original and a copy, Goodman addresses the question whether there is any aesthetic difference between the two pictures (1976, 99–102). Notice that, if there is a difference, it must not depend on what one can visually discern at the present time, for ex hypothesis, there is no such visual difference that can currently be detected. Goodman’s answer is that there is an aesthetic difference between the two paintings even now, when we are unable to tell one painting from the other, for an awareness that one is the original and the other a copy informs us that a difference may be perceived, and indeed modifies our present perception of the two paintings: now, for instance, we look for differences between the two paintings, we train our eyes and minds to discriminate differences that are currently indiscernible (1976, 103–105). Goodman’s takes his claims to be general and as granting the conclusion that “the aesthetic properties of a picture include not only those found by looking at it but also those the determine how it is to be looked at” (1976, 111–112). Hence, even with pictures that are not “perfect” copies of other pictures, indeed with any picture, knowing how it should be classified—including its classification by authorship, as a Rembrandt, a Vermeer, or a Van Meegeren—makes a difference to how the picture may be perceived. For perceiving is, after all, determined by the labels that one projects over what is presented in front of one’s eyes. It must be noticed, then, that this claim is all within a theory of perception and, while claiming that non-perceptible features are relevant to perception, hence are relevant to aesthetic experience, it does not claim that non-perceptible features as such are relevant to aesthetic experience.