Departing from the notion of dispositif, presented throughout the work of Michel Foucault and, later, conceptually delineated by his readers, the thesis addresses the Art field within the scope of a mediatic system in the current cultural program, and its corresponding representative regime. The research focuses on the operations present in the constitution and maintenance of the Art field, its organization in its own institutions that promote the agency of objects and subjects for the configuration of singular processes of subjectivation, in which the artist/author emerges as the main figure of individuation in the social field. The artist, in this study, is understood not only from an authorial condition that aims to describe the nature of his gestures, but also from his mediatization, which makes the product and its producer recognizable. From a time-frame that begins in the 1960s, extending to the present day, we try to understand the changes in the subjectivation process of different artists/authors. This period conventionally called contemporary art according to the disposal of critics, theorists, and art historians, aims to name forms and phenomena that escape the conventions of artistic modernity, thus suggesting a new regime of production, designated in the historiography as post-modernity. The practice of these agents is thought beyond the specificities of the Art Field, understanding these artists/authors as images and brands, we can perceive the vastness of operations and media resources that circumscribe them. The objective of this articulation is to think about what the hypothesis of this research names mediatic subject.