We can witness the recent surge of interest in the interaction between cognitive science, philosophy of science, and aesthetics on the problem of representation. This naturally leads us to rethinking the achievements of Goodman's monumental book Languages of Art. For, there is no doubt that no one else contributed more than Goodman to throw a light on the cognitive function of art. Ironically, it could be also Goodman who has been the stumbling block for a unified theory of representation. In this paper, I shall contrast the ways how differently misrepresentation has been treated in cognitive science, aesthetics, and philosophy of science. And I shall show that it is Goodman's unnecessary separation of resemblance and representation in art that made such a difference. As a conclusion, I will indicate some of the most promising projects toward the unified theory of representation the revolt against Goodman's rejection of resemblance theories might promise to us.