As walkers of a city, we seek to understand its various pieces, using our eyes and mind. Our gaze seeks the charm of the city, the architecture and the art that surrounds it. Through the explanation of the basics mechanisms of vision and the intake of various visual stimuli as well with a brief review of visual perception theories such as that of Gestalt, which changed the view of the subject's relationship with the space, we focus on its visual illusion technique. The description of earlier artists and theories leads us the reason why it is applied and what is ultimately achieved by using it. A system of conceptual tools and terms that help to explore the concept, in the artistic world as well as in the spatial experience in general, is being constructed. In particular, the application of the visual fallacy in modern art and the anamorphic design and architecture is studied. The Dutch artist Maurits Cornelis Escher is a prominent example of this and its pro-application. Artists influenced by him, as well geometry and perspective, are compared with him, while at the same time analyzing the philosophy behind his work. We focus on concrete examples of contemporary works and look for the reasons for applying visual illusion with a critical look. Ultimately, art manages to communicate with the recipient; Coexist harmoniously with the surrounding space and society; Can the city as a two-dimensional performances canvas, create a fictitious space and catch the eye of every walker? To distort or complete his experience?  To chase or direct its course?