This project examines the construction of subjectivity in Eleanor Antin's Carving: A Traditional Sculpture (fig. 1) and Chris Kraus's Aliens and Anorexia (fig. 2). These works inscribe notions of the self, the social, and the subject through and on the body, addressing the interpolating poles of nutritional consumption and “dispersing the body” through self-starvation. In this essay I will demonstrate how these artists interact with the spaces and discourses created around food and disordered eating to produce a counter-dominant vision of subjectivity, a theme both artists regularly engage in throughout their careers. My reading prioritizes theories of the body, subjectivity, consumption, gender and difference, refusing to see these works, or the practice of anorexia, as simply a testament to the pressures on the contemporary female body or the demonstration of a cardinal relationship between the feminine and food. Instead, it positions these practices as a site of complex and, at times, resistant subjectivities. At the center of my reading are recent sociological and anthropological theories on the role of food in the construction and meaning of the subject and on its relationship with the social and cultural order. My reading also incorporates psychoanalytic theories that address the formation of subjectivity through pre-libidinal encounters with sustenance. This breadth of theory is essential, as more complex discourses on food and anorexia resist reducing these concepts to questions of nature/nurture, inner/outer, or self/social. This project also draws heavily on feminist theories, although my use of this perspective is not to suggest that eating disorders, food and the like are primarily or naturally a women's issue... at the heart of the card... The multiplicity of meanings contained in these works suggests the importance of the body as a liminal site, a site of inscription and meaning-making, both in historical-contemporary and more recent feminist work. Of course, it is unlikely that Antin or Kraus would directly avail themselves of any of the unique theories explained in this essay. Both artists, however, are undeniably interested in formations, constructions and changes in subjectivity. Both Carving: A Traditional Sculpture and Aliens and Anorexia address the uncontainable boundaries of the body, exploding the dual Cartesian model of the inner/outer self. As feminist artists, both Antin and Kraus are certainly aware of the complexity of conversations about food, the self, and the body. Even if artists do not speak “to” or “through” a particular theoretical model, they still contribute to these discourses.