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Some of the contributions of the body ego to various areas of experience are reviewed, and an attempt is made to extend these views to creative imagination. The hand of the artist may continue the old mouth-hand and body-ego integration by carrying sexual and aggressive energy to the canvas as in infancy it carried it from the mouth to the skin. The canvas may sometimes represent
the skin. The movements involved in painting are more than mere executors of preformed mental images. They, and kinesthetic reactions, influence the images as they help guide the work of painting. The formula that thought is trial action may obscure the reciprocal flow between them; as in painting, thought and action may be in equilibrial interchange.