We investigated the effects of exposure to sexually objectifying music videos on viewers' subsequent gazing behavior. We exposed participants (N = 129; 68 women, 61 men) to music videos either high in sexual objectification or low in sexual objectification. Next, we measured participants' eye movements as they viewed photographs of 36 women models with various body shapes (i.e., ideal size model, plus size model) and degree of dress (i.e., fully dressed, scantily dressed, partially clad). Results indicated that sexually objectifying music videos influenced participants' objectifying gaze upon photographs of women with an ideal size, but not plus size, body shape. Interestingly, that effect neither differed among men and women nor depended upon the models' degree of dress. Altogether, once primed with sexually objectifying imagery, participants looked at women's sexual body parts more than they looked at women's faces. Objectification theory (Fredrickson & Roberts, 1997) posits that sexually objectifying depictions of women are ubiquitous in today's media environment. Results of content analyses have indicated that such depictions are particularly prevalent in music videos (e.g., Aubrey & Frisby, 2011; Vandenbosch, Vervloessem, & Eggermont, 2013). By focusing on the body or sexual body parts, objectifying music videos depict women as mere sexual instruments to serve the pleasure of the viewer (Fredrickson & Roberts, 1997). Consequently, by emphasizing the body or sexual body parts, the videos indirectly impose an objectifying gaze upon viewers. Exposure to sexually objectifying media can affect how individuals perceive not only themselves, but also women (cf. Ward, 2016). Thus far, most studies on the effects of objectifying media have addressed potentially negative perceptions, beliefs, or attitudes as outcome variables. However, to the best of our knowledge, no prior studies have investigated the effects of objectifying media on gazing behavior. Given that gaze's potential negative consequences for interpersonal interactions (e.g., Calogero, 2004; Gervais,