Throughout the twentieth and twenty-first centuries, artists and scholars have pursued connections between modern art movements and scientific exploration and expertise. Particularly in discussions of Cubism and Futurism, artists and historians have employed the terms ‘fourth dimension’, ‘simultaneity’, and ‘space-time’ in their artistic theories. Select scholars have connected the use of these terms with Albert Einstein’s theories of relativity. This paper presents brief notes on this perceived intersection between Western science and art during the early to mid-twentieth century. It focuses (...) on the Bauhaus master Laszlo Moholy-Nagy, for whom ideas of “space-time” offered new and dynamic possibilities for art and perception. Rather than solely trying to interpret or represent Einstein’s theories in art, Moholy-Nagy considered the artistic implications of a theory that challenged the notion of absolute time and space. His writing on technology and the use of projected light to produce spatial modulation greatly impacted subsequent generations of artists. Moholy-Nagy also viewed greater collaboration within the disciplines of science and art as necessary. He argued that in order to best respond to the twentieth century a new generation of artists must be equipped with both technical and scientific expertise. (shrink)