Comparing the performance art of Laurie Anderson, Annie Sprinkle and Karen Finley- the Cybernetic Body, the Pornographic Body and the Grotesque Body- the author concludes that feminist performance artists use the female form as a manuscript, re-writing the body in order to efface its original inscriptions within Western culture. On the border between physicality and technology, femininity and gender transgression, feminist performance art disrupts the notion of the spectacle of woman, but, at least at this point in time, it cannot deny it.