ABSTRACT
I began this book by raising the paradox of how caricatures can be so effective despite their obvious distortion. I also suggested that by understanding the paradox we might learn something about how recognition works, particularly recognition of objects like faces that share a configuration. I therefore set out to explore the power of caricatures in a variety of settings. This exploration has taken us through the varied terrains of art, biology, and psychology, and the time has come to see where we have ended up.
