 Despite these objections to Goodman’s theory of depiction, it continues to exert an influence on philosophers of art. For example, John Kulvicki has recently defended a theory that is designed to address some of the arguments above, and to incorporate some of the ideas advanced by Goodman’s opponents, while retaining Goodman’s principal ideas. In particular, Kulvicki agrees with Goodman that a picture is a symbol in a denotative system, and that a denotative system is pictorial in virtue of its structure, rather than any resemblance between its symbols and the objects they denote (Kulvicki 2006: 13). But it is difficult to be certain how far he shares Goodman’s approach to the semantics of pictures, and of symbols generally. In particular, Kulvicki relies on the idea that pictures have different kinds of content (see below), but it is unclear whether he agrees with Goodman’s reduction of content to denotation (1968: 27–29), and whether he shares Goodman’s general commitment to extensionalism (see  §3.1 of the entry on  Nelson Goodman),  or whether he agrees with Frege that as well as having a reference or denotation, names and descriptions also express a sense.