Abstract
In this article I will explore prosthesis as a metaphor of embodiment in art-based research to challenge the Utopian myth of wholeness and normality in art and the human body. I will discuss the historical origins of “prosthesis,” its use as a rhetorical augmentation of language and technological augmentation of amputated bodies, to suggest that the visual language of art disrupts and extends beyond the dialectical closure of thesis, antithesis, and synthesis through the divergent interconnectivity of prosthesis.