This dissertation explores verbal and visual representations of the abject body in Federico García Lorca’s Poeta en Nueva York (published 1940), Viaje a la luna (1929), El público (1930-1931), and his drawings from 1929-1930. Grounded in queer theory, transgender studies, and Blackness studies, I explore how Lorca’s images of somatic abjection challenge hegemonic ideas of gender, sexuality, and race in the depiction of queer and otherwise marginalized identities. The dissertation focuses on abjection in three major poems from Poeta en Nueva York, beginning with “Oda a Walt Whitman.” In Chapter 1, I identify an Apollonian-Dionysian dichotomy between the figure of Whitman and the urban maricas, and explore how the abject effeminacy of the latter, and their excessively feminine performances, challenge the heterosexual reproductive order. Chapter 2 examines the abject fluids of vomit and blood in “Paisaje de la multitud que vomita” and “El Rey de Harlem.” I analyze the correlation between the mujer gorda’s physical size and her abject, Dionysian “vomiting multitude.” The second part of the chapter reads “El Rey de Harlem” in the light of Frantz Fanon’s racial phenomenology in order to explore Lorca’s representations of Blackness and masculinity. I argue that the primitivist motifs of blood, music, and nature associated here with erotic representations of the Black masculine body create an ambivalent poem that is at once empowering and exoticizing. Chapter 3 analyzes the uncompleted film scenario Viaje a la luna, which I contend portrays queer anxieties about gender and sexuality through the “nervous gestures” and exposed body of the protagonist. Discussion of the scenario leads to discussion of abjection in the drawing Muerte de Santa Rodegunda. I argue that in Lorca’s drawings of mutilated and plant-like bodies, we see a transformative vision of what a body can be, one that pushes at the boundaries of the human. Finally, in Chapter 4, I argue for a genderqueer reading of the transgressive play El público. Performance theory, queer theory of sadomasochism and anality, transgender theory, and explorations of X-ray technology in the twentieth century help me dissect what has been called Lorca’s “impossible play.”