disputed political fields; and if one sees that reproduction is being detached from women, then these kinds of fantasies of fear are not unfounded. And then artistic productions that ask how one can have a say in designing the human of tomorrow are appropriate. The only problem I see is that many artistic works do not even go that far, but that they get stuck in staging emotional and latently gender-specific conditions and thus encourage the naturalization of social relations.

With this it becomes clear that even these new forms of power and control, as they are understood by Deleuze or Haraway, are still continuing to be upheld by old representations of oppression and deindividualization: The end of the whole (male) body and his sexuality, and the emergence of a female-minority power that invalidates the rules. A certain tendency can also be made out with respect to time: In the early and mid-nineties the fear of dehumanization was expressed primarily in these desexualized or genderconfused (doll) integuments without organs, while in recent years images of microcosmic, fluid entities are increasingly beginning

to spread. [30]