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In this paper I highlight with extensive quotations from the writing of the critic, Adrian Stokes, the otherwise often overlooked attention he paid to the data of the senses in his writing about art and other matters before, during, and after his psychoanalytic treatment by Melanie Klein in the 1930s. I relate this to the attention paid to this data by the psychoanalyst, Wilfred Bion, in his writing about art, mothering, and psychoanalysis after his psychoanalytic treatment by Melanie Klein in the 1940s.