The article analyzes the novels Ornamento (2015) by Juan Cardenas and La comemadre (2010) by Roque Larraquy, and argues that the works elaborate a critique of biotechnological modes of production in vivo for aesthetic purposes through the literary representation of a scientific experiment linked with an artistic one. In this way, the notion of bioart allows us to understand the unique confluence of the biopolitical practices of the capitalist system when operating in a radical way on the body.