  The term ‘vehicle’ was taken up again by Harold Osborne, who defined it as what “enables the same organization of material to enter the experience of different persons at different times” (1953, 96). A particular arrangement of pigments upon a canvas or some other surface could be the vehicle of a work, but the work itself is distinct from its material component. The work is not the vehicle alone, but “an enduring possibility, often enshrined or recorded in a material medium, of a specific set of sensory impressions” (1953, 100).