ABSTRACT This essay examines the much-contested “neuroscientific turn” in art history, taking the cues of the best of the turn while rejecting its false starts. The most promising transdisciplinary encounters spanning the brain sciences and the humanities begin from the premise that human experience is embodied, but the “body” itself is interwoven across biological, ecological, phenomenological, social and cultural planes. Certain media artworks critically engaged with neuroscience productively model such an approach. Taking Mariko Mori’s brainwave interface and multimedia installation Wave UFO (1999–2002) as a case study, the author explores how works of art may complicate and augment brain science research as well as its dissemination into other social and cultural arenas.