The relations between art and science have become of increasing interest in recent years, but discussion tends to become trapped either in the realm of the influence of one on the other or in the area of vague notions of creativity and imagination. I believe that there is another, more productive way of looking at the issue. If we direct our attention to the fundamental level of the way in which something is selectively scrutinised by the artist and scientist, and how those acts are structured, we can gain a better sense of shared intuitions in art and science, and how these intuitions are expressed in images. Images are generally designed to do radically different jobs in art and science, but they carry clear signs of the structural framework of seeing that is their common point of departure - if we know how and where to look. Evidence will be drawn largely from my more recent essays on "Science in Culture" published each month in Nature. The first set of essays were published as Visualizations, and in now seems like a good time, almost three years later, to review what has emerged, as some old themes have been reviewed and new motifs introduced. The images range from "high art" to technical representation in science, and from the Renaissance to the present day. Further evidence will be drawn from our experience in the mounting of the exhibition, Gregor Mendel. The Genius of Genetics in the Abbey of St. Thomas in Brno, where Mendel established his genetic laws. The whole enterprise of my analysis of images is based on a belief that the understanding of visual representation provides an ideal weapon in the fight to break down the disastrous barriers of communication that modern specialisation has erected between the arts and sciences.