20 male college students briefly viewed slides of 30 paintings. On second showing, 16 of the 30 slides were reversed in left-right orientation and Ss judged each painting as to whether a reversal had occurred. On third showing, Ss judged whether a painting was in the “correct” artist-intended orientation. Judgments of “correct” were chiefly based on whether the painting had minimal familiarity, i.e., had been unchanged in orientation on the first two showings. Neither this group nor a control group agreed with artist intent at more than a chance level.