 The dance philosophy that is a subset of philosophical aesthetics is interested in the question, “what is the nature of dance as art?” Here one set of philosophical problems center on identifying what the art product of dance is—whether it is an object or structure of some or a more fluid process or event. Dance philosophers differ on which features of dance as art should have primary of place for purposes of ontology. Some philosophers with commitments to dancework structure and repeatability (notably Nelson Goodman (1976) and Graham McFee (1992b, 2011b, and 2018)) treat the art-relevant aspect of dance as its abstract structure, looking to an actual or in-principle score for guidance even if they deny (as McFee does) that this is an attempt to find a true definition or “essence” of dance. It is important to these philosophers that there be an object of appreciation that can be evaluated independently of any particular subjective experience or perspective of it, in this way hoping to identify something “true” about dance as art that is subject to the sort of rational appraisal, analysis, and what McFee calls “reconstruction” that analytic philosophy does well (see McFee 2018).