Since modernism, artists and theorists have often heralded the immediacy of seeing, in which the plenitude and qualitative multiplicity of the visual field reveals itself to the viewer before any categorisation or naming of perceptual objects. This argument segues with a metaphysics of process and a critique of solid bodies, for the temporal plenitude of the visual world should be available to the viewer before any contraction into surfaces or recognisable bodies. However, what such accounts do not sufficiently recognise is the role of the body, and in particular saccadic eye movements, in responding to features of the visual environment before any conscious reception of qualitative difference. Chapter 4 argues that although the image might seem to appear instantaneously, such an apprehension of the whole follows the involuntary search for recognisable features associated with recognisable objects. The chapter draws upon Whitehead’s distinction between presentational immediacy and causal efficacy to argue that preconscious actions predispose the viewer to a logic of solid bodies. In this context, attention to the qualitative plenitude of the perceptual field depends on much slower forms of aesthetic engagement, such as aesthetic contemplation, or works that disrupt the primary inclination to recognise objects.