Current discussions regarding the notion of visual culture in art educational practice center the actions of the viewer as participant within the networks of visuality common in many contemporary societies. Surveillance technologies and techniques shift this notion of participation from active to passive, from seeing to being seen. This article explores the relationship between the gaze as structured by art educational practice and contemporary forms of surveillance, looking to theoreticians who analyze power as it is formed within complex visual networks. (Contains 3 footnotes.)