In 1956, what began as an exhibition became a highly unusual book, The New Landscape in Art and Science, in which Modern-era artwork was paired with scientific images that were made, not with the unaided eye, but with such then "high tech" devices as x-ray machines, stroboscopic photography, electron microscopes, sonar, radar, high-powered telescopes, infrared sensors and so on. His theories on visual perception and, particularly, his personal mentorship, had a profound influence on young MIT architecture, planning, and visual art students.
In 1956, an exhibition transformed into a groundbreaking publication, The New Landscape in Art and Science, which combined modern art with scientific images produced using cutting-edge tools like x-ray machines, stroboscopic photography, electron microscopes, sonar, radar, telescopes, infrared sensors, and others.