In the latter half of the 20th-century and into the 21st, William Burroughs, Samuel Delany, and bioartists such as Oron Catts, Orlan, and Stelarc have all attempted to create works which respond to the increasing biopoliticization of contemporary society. The biopolitics of today seek to regularize life and structure it according to the imperatives of economic thought, a process by which the human becomes the Foucauldian homo oeconomicus. This restricted logic of biopolitics desperately tries to cover the explosive excess of the world today, what Bataille calls general economy. The artists under consideration in this work attempt to uncover this state of excess. While they are typically seen as exploring fantastic realms of the transgressive or, in the case of bioartists, attempting to emulate science fiction, in fact it is their realism which provokes. These artists reveal the heterological body, that which cannot be contained or described by the biopolitical regime. In so doing, they rewrite our standards of taste and point the way to understandings of the human that have been otherwise unavailable to us. William Burroughs in Naked Lunch highlights the manipulability of affect in contemporary society through the reduction of the human to bare life. He uses the figure of flesh/meat as a way of depicting the heterogeneous body and to generate a counter-affect, or free-floating affect, which unlike typical affect, is not worked up into emotion. Samuel Delany, too, describes the heterogeneous or destabilized body in the heterotopia of his novel Dhalgren. While Burroughs is unable or unwilling to gesture towards the potentially radical implications of the heterogeneous body, Delany proposes a new model of community that rests upon the revelation of the heterogeneous body, a community which acts as one informed by an affirmative biopolitics. Bioart, a somewhat vexed genre of art, attempts to construct artworks that both utilize and critique new science and technology of the body. The life sciences are complicit in the rise of the biopolitical state and further the view of the human as constrained by its material substrate. Fetishistic bioart problematically reproduces a fascination with the life sciences and advanced technology. However, the bioart which I call sacred has a demystifying effect and attempts to use the knowledge gained by the life sciences to expand our understanding of the human, going beyond the bounds of that very knowledge itself. / English