(57) In this section of the book, Goodman calls attention to a peculiar problem in the philosophy of art: why is it that a painting can be forged while a piece of music cannot?
After verifying that there is indeed an important aesthetic difference between an original and a forgery and clarifying its nature, Goodman suggests an answer to the question.
In this, the key section of the book, Goodman expands on his idea of a notational system introduced in the previous chapter.
Goodman evaluates the common notational methods of musical and theatrical performance, drawing and painting, dance and architecture.
Despite the critiques Goodman makes of the common vocabulary of art discussion, he does not believe that, "the exigencies that dictate technical discourse need govern our everyday speech."