 It is worth emphasizing how Goodman, although he begins his investigation with the autographic/allographic distinction (indeed introduced as a rough approximation), aims at developing an account of the role notation, at the syntactic or semantic level, plays within certain arts but not others. The result is not just an explanation of the autographic nature of some arts and the allographic nature of others. It is a way more articulated account of the variety of ways in which notationality, when present, has authority in identifying artworks in the various arts, hence in differently determining the localization of what counts as the artwork. To sum up, where a “score” is present, hence syntactic and semantic notationality, usually, the work is a compliance class of performances. Where a “script” is present, hence a notation only at the syntactic level, usually, the work is a class of inscriptions compliant with such script. Where notation is not established at either the semantic or the syntactic level, there is a “sketch,” which is usually the work itself, as a concrete individual or series of concrete individuals.