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Starting from the notion of “fitting together” ( at, Indo-European root of the word art) and (re)visiting the doll as an object of aesthetic jouissance (Hans Bellmer’s The Doll, built around a central ball joint called “ball belly”), I try to understand the function of the art object and what we can learn from it. How do these objects (as we consider the artistic field of what is visible) challenge us? What kind of encounter do they cause? What can art do? How are we modified by this gaze? The drive that represents us is reflected in the very split between eye and gaze; Lacan comments that in the scopic relationship, the gaze becomes the object that the phantasy (to which the subject, in turn, is attached) depends on. Hence our example of “perspective paradigm.” In the last part, we will question the concept of time which we will use to identify the pulsions that structure the creative process.