she attached female extremities to male torsos. Compared with the smooth doll bodies we encounter in «Thank You Thighmaster,» the irritation increases in as much as these are not media propagated, socially sanctioned physical ideals, but rather fantasies of the seductive woman-child and of transsexuals or transvestites: Images which may arouse desire, but at the same time mark figures of transgression. While for this work series Lamsweerde generally worked with professional models, in «Me» (1999) she becomes the model who passes through various ages and genders by projecting her own facial features onto other people's faces, thus fusing with them. [26] It is not only the transgression of gender boundaries that seems uncanny—which takes place less on the level of the image than in the eye of the viewer—when the portrait of a man is identified as a «self(portrait)» («Me») of the artist. The promise of rejuvenation or even agelessness qua the upgrading and reequipping of the organic body, which is transported by the new technologies, is not only placed into the image, but it is also confronted with its counter-image—thus heightening the question of technological feasibility by

Lamsweerde's formulating it under the premise of self-creation: which in the case of her artificial aging oscillates with a moment of self-destruction. All of these works have one thing in common: Although they operate—in a two-fold sense of the word—on surfaces, at the same time they suggest that the clutches of the new technologies are more far-reaching. Even if they do not proceed as radically as do Orlan and Stelarc, who turn their own physical bodies into a venue for the technologies, in their own way they lend expression to the suspicion that under the premise of cyborgization, physical boundaries and constitutions begin to become fluid, and along with them the boundaries and constitutions of the subject.

Cyborg subjects and their masquerades

It would be too simple, however, to regard solely the body as an interface at which the imperative of cyborgization can be construed or demonstrated in its consequences. It is not without reason that Haraway emphasizes that it is primarily our consciousness that makes us into cyborgs even now. Cyborg configurations of art do not solely negotiate the changing relation