Artists try to understand how we see, sometimes explicitly exploring rules of perspective or color, visual illusions, or iconography, and conversely, scientists who study vision sometimes address the perceptual questions and discoveries raised by the works of art, as we do here.The integration of visual art with the experimental study of vision has its roots in formal analysis of painting, but this approach has gone out of vogue in art-historical circles because it ignores the impact of cultural context on art appreciation. Advances in our understanding of how the brain works have resuscitated interest in linking art with vision science. Here we review some of these new links, with the caveat that we will not address visual aesthetics, but rather some nuts and bolts of making and looking at art, in an endeavor to enrich our understanding of art 'in much the same way as a knowledge of bones and muscles has for centuries enhanced the ability of artists to portray the human body' [1]. Some recent studies may even illuminate why cultural context is so important in visual art.When we look at the world, or at a work of art, our eyes, and our visual attention, are constantly and alternately moving and fixating [2]. Our fixations are not randomly distributed across a scene, but rather concentrate on key regions-to a first approximation, on the areas of high local contrast [3]. The visual machinery that directs the eyes where to look can have two impacts on art. On the one hand, artists have developed techniques to direct your gaze; on the other hand, the unconscious machinery directing the gaze of the artist may influence which parts of the scene the artist portrays or emphasizes. Leonards et al. [4] have argued that Renaissance artists used gold for its special reflective quality under candlelight to control the viewers' gaze. The authors argue that 'the glow of the gold induced shifts in fixations to symbolically important regions of the painting' (Figure 1). Candle illumination introduces areas of local contrast that is not apparent under daylight conditions-the thin lines of gold extending into the bodies of the two subjects. It is these regions that show increased fixations under low illumination, raising the possibility that the viewer's gaze and attention are drawn to these regions not because of their symbolism, as Leonards et al. argue, but rather because of their low-level visual salience.Eyes are especially potent in attracting the gaze, both because of their behavioral significance and because they are the regions of high local contrast. Tyler [5•] examined 265 portraits spanning the past 600 years and found a strong tendency for one eye to be centered on the vertical midline of the painting (Figure 2). A recent critique of Tyler's observations asserts that 'one eye tends to be relatively close to the vertical midline because of geometric constraints on the placing of a relatively large object, the head, within a pictorial frame' suggesting that there is no behavioral significance to eye-centering [...