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This paper explores the concept of "gendered seeing": the capacity to visually perceive another person's gender and the role that one's own gender plays in that perception. Assuming that gendered properties are actually perceptible, my goal is to provide some support from the philosophy of perception on how gendered visual experiences are possible. I begin by exploring the ways in which sociologists and psychologists study how we perceive one's sex and the implications of these studies for the sex/gender distinction. I then discuss feminist philosopher Linda Alcoff's concept of "interpretative horizons," which highlights the role that one's social and political identities play in how we understand the world around us. I also discuss Elizabeth Grosz's notion (borrowed from Merleau-Ponty) of double sensation. I then apply some work in the philosophy of perception on perceptual learning and the cognitive penetration of perception to gendered seeing. My hypothesis is that we can explain how one's interpretative horizons are acquired through some notion of perceptual learning. I conclude by suggesting some of the epistemic and ethical implications of gendered seeing."To see . . . entails more than opening our eyes to allow light passively to bounce off our retinas. We must actively perceive that which is seen and thus make sense of somatic experiences. . . . In this way, sensing and this sense-making are necessarily conjoined, codetermined, and mutually emergent." -Vanninni, (Waskul and Gottschalk 2011,15) "A man would never hold a pen like that." -Dee, MTF cross-dresser, age 55 (quoted in Friedman 2015, 84)

This article focuses on a potentially perplexing aspect of our interactions with pictorial representations (including film, paintings, pictures, drawings, photographs, even video games): in some cases, it seems that visual representations can play tricks on our cognitive faculties. We may either come to believe that objects represented in pictures are real or perhaps perceive them as such. The possibility of widespread pictorial illusions has been oft discussed, and discarded, in the aesthetics literature. I support this stance. However, the nature of the illusion is more complicated than is usually considered. I argue that there are five different types of potential illusions and present reasons for rejecting each. I also explore in detail the most persistent illusion: the “object recognition perceptual illusion thesis,” which states that we undergo a perceptual illusion while viewing pictorial representations simply in virtue of seeing objects in the representation. I contend that a rejection of this thesis depends on the nature of perceptual content, an issue with far‐reaching consequences in aesthetics.

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