It is a mainstream view within the ontology of art that there are singular as well as multiple artworks, but it is also a view that is contested. In this article, the author investigates whether the singular/multiple distinction can be sustained and argues for a new way to determine the category to which an artwork belongs. The author stresses that though this seems to be an enterprise of rather theoretical concern, it has a direct practical dimension to it as well. Whether one is right to distinguish between singular and multiple artworks, and on what grounds such a distinction could be made, is of course affecting his/her treatment of artworks and his/her whole practice of exhibiting, selling, and appreciating works of art because it is based on the assumption that certain works are unique, whereas others exist in several instances (which make them widely available and not to be identified with a single object of appreciation). The author hopes to show that one's practice of categorizing art is mostly appropriate but for different reasons than it has been suggested before. The view that the author presents in this article is that being singular or multiple is a matter of an artwork's production process. (Contains 23 notes.)