This research looks at the ways in which the body is framed and unframed from the epistemological and genealogical lenses outlined by Foucault. The body gains a controversial dimension here, in that it absorbs two simultaneous movements. In the first, it is constantly framed by certain forces that find in certain historical soils – epistemes – a place to unfold. In the second, it is un-framed, breaking with the framing experiences present in the first movement. In this dynamic, certain efforts are observed that act by breaking, blurring, and reformulating its mode of appearance in the epistemic spaces. In this way, the thesis is divided into two parts. In the first part, based on the metaphors of the Bodyframework, we dive into the historical conformations of the body in the classical and modern epochs, observing how singular ways of taking it are organized. The visualities produced in these historical clippings serve as tools to observe how these efforts are consolidated, instilling in the bodies and subjects specific orders, categories, ways of seeing and understanding the world. In the second part of the thesis, we set out to observe visualities that act by breaking with the framing assumptions observed in the first part of the thesis. These are contemporary artworks that promote other senses, measures, and narratives for the bodies involved in such historical plots. We observe, in this way, that the body un-frames the body, to the extent that it escapes, produces fissures and resists the modes of framing that act constantly constituting it, defining it, normalizing it.