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Contemporary research in neuroscience, psychology, and anthropology increasingly distinguishes neurological synesthesia from widely shared crossmodal correspondences. This chapter argues that while synesthesia offers fascinating insights into individual perception, crossmodal correspondences provide a more suitable model for art intended for a broad audience. To test this, the chapter compares the artmaking approach of a confirmed synesthete artist, Nina Norden, with the author's own crossmodal practice, and analyses Norden's responses to a study of crossmodal wine and sound works alongside those of non-synesthetes. It also presents the professional experience of Anna Mantheakis, a synesthete winemaker, to further highlight the individual nature of the condition. The observed differences underscore that neurological synesthesia is not a universal language for sensory translation. These findings support the adoption of crossmodal art and crossmodality as updated nomenclature to replace synesthetic art and synesthesia , better reflecting art that harnesses the shared, interconnected system of perception explored through the concept of sensory terroir.