Analytic attempts to distinguish "art" and "science" often founder at the bound-aries drawn between thern. 00 the alligators that hang from the ceiling in thelate Renaissance cabinet of wonders at Wurms form part of the history of scientific classification, or part of the history of aesthetics? Are theories of female reproduction in Cinquecento Italy marked more by discourses of medicine, or by contemporaneous casting techniques? Oid early photographs of mammals in motion serve primarily to educate the eye, or to provide raw data for physiologists? To bring such questions into a late-twentieth-century frame, is entering an artist's website an artistic or a technological experience? As the chapters in this book demonstrate, the muchvexed inquiry as to whether science and art are incommensurable realms ofknowledge is misplaced. What promises more is a view of history that asks: What are the conditions under which objects become visible in culture, and in what manner are such visibilities characterized as "science" or "art?" We are after precisely these boundary conditions.