The artefacts produced by artists during their creation of works of art are very various:
paintings, writings, musical scores, and so on. I have a general thesis to offer about the
relations of artefacts and artworks, but within the confines of this article I shall mainly
discuss cases drawn from the art of painting, central specimens of which seem to be
autographic in Nelson Goodman's sense, namely such that even the most exact
duplication of them does not count as producing the same work of art.
My view will be that an artwork (such as a painting) and its associated artefact are not
identical, and nor is the artefact in any sense part of the painting in question,2 but that
nevertheless it is still possible to maintain the view that paintings are autographic (which
view I shall call l the autographic thesis). I shall proceed initially through presentation of
some counter-examples to common assumptions as to the relations of artefacts and
artworks, and then present an alternative 'representational' theory of their relations.