 An issue closely related to the ontological question of the identity of the work of art in the various art forms—indeed the very issue that Goodman uses, in Languages of Art, to introduce his theory of notation—is that of the importance of authenticity in art and of the aesthetic relevance of being a forgery. (Goodman’s comments on the question of forgery prompted a small debate on that issue, mostly represented in a collection edited by Denis Dutton [1983].) The brief answer is that authenticity matters only where there is no notationality. Hence, for instance, it makes no difference whether a musical piece is performed from the original score or from a copy congruent with that, since the score is in a notational scheme. Yet it does matter whether one is presented with an original Rembrandt or with a copy of it, since paintings are analogs, symbols in syntactically dense systems.