Grounded in an analysis of Picasso’s works from two cubist phases, this work tends to show to which extent Picasso’s application of poliperspectivness in painting represents departure from standard norms of looking and from conventional models of representation. This refers to the philosophical character of his intention that results from focusing on view as such. Namely, the object of Picasso’s poliperspective representation is not a specified physical referent, but, on the contrary, the artist’s own view. The presence of movement of one’s own view in function of the representation of the object is what legitimizes an artistic experience as a form of cognition. Picasso’s cubism from the beginning of the twentieth century inaugurates reflection of looking, sighting and visible in (post)modern art and thus supports the thesis of history of view.