The study of "the marginal" —both physically and conceptually—is a topic of current fascination in the field of visual culture. Medieval Jews constituted a “culture on the edge,”— occasionally envied, sometimes despised and persecuted, usually misunderstood, and consistently marginalized religiously, socially and politically. The spaces in their art were visually similar to those in Christian art— manuscripts with margins, synagogues with architectural details. Yet the way in which those spaces were conceptualized and configured could be very different. What does it mean to read the “margins of the margins” of Jewish visual culture?