Hugely complex issues of representation lie at the heart of communication in modern science, whether person-to-person or at the interface of humans and machines. Increasingly artists are being brought in to help science communicate its message and importance. At The European Organization for Nuclear Research (CERN) the Collide@CERN project is the international organization’s first large scale venture into the world of art. Who is better prepared to interpret the scientific art that such projects produce? The scientist, the art historian, the science historian or the artist? What questions of taste and connoisseurship does this new trend imply? And why do scientific budgets now include ‘creative aims’? Through examining this large-scale, expensive and prestigious science organisation’s flirtation with the arts, this paper will reflect on how the merge of art and science in these spaces create contemporary hierarchies in art and science histories.