 Some recent versions of institutionalism depart from Dickie’s by accepting the burden, which Dickie rejected, of providing a substantive, non-circular account of what it is to be an art institution or an artworld.  One, due to David Davies, does so by building in Nelson Goodman’s account of aesthetic symbolic functions. Another, due to Abell, combines Searle’s account of social institutions with Gaut’s characterization of art-making properties, and builds an account of artistic value on that coupling.