Subject integration between art and the school's other subjects is something that is often highlighted as positive. But Lindström (2012) emphasizes that there is a problem with talking unspecified about aesthetics in school and can lead to a neglect of the qualifications needed to integrate art, crafts and design with the school's "academic subjects". Our aim is to create knowledge about how aesthetic learning processes are made visible and expressed in a cross-disciplinary work between religion and art in a high school class. The empirical material has been collected through qualitative observations and consists of data collected over three days and consists of eight hours extended on six lessons in art and religion. The field for the study is two classrooms in the school which the students attend. The results are analyzed based on a thematic analysis developed by Braun and Clarke (2006) and the themes are based on Lindström's (2012) definition and model of aesthetic learning processes, and what form of subject-integrated teaching prevails parallel integration, theme weeks or co-education. The results show that we can see that aesthetic learning processes become visible and that the students moved between all four categories in Lindström's model in the interdisciplinary work. We saw that the students worked THROUGH aesthetic learning processes when the students reflected on their creation. We saw that the students worked in aesthetic learning processes when they drew their Buddhas in dry pastel and tried different techniques and materials. We saw that the students worked WITH aesthetic learning processes, among other things when the students referred to their Buddhas in dry pastel. We saw that the students worked on aesthetic learning processes, for example when the students worked with and talked about the concept of layout.