Developers also wove contemporary artwork into the exhibition that explored the implications of body imaging. Alex Grey's paintings of the interiors of living bodies, and Rosamond Purcell's compelling photographs of medical preparations from across Europe were among the artworks on view.

A number of special art programs challenged viewers to get in touch with their 'feelings' about bodies. For New York artist Scott Serrano, the word 'challenge' may be an understatement. Serrano performed as a fictional nineteenth-century anatomist obsessed with using his own body to illuminate the human interior. As Serrano's character lectured on anatomy, he used an elaborate series of costumes to create the illusion that he was dissecting himself. Serrano's fabricated body parts, built with careful attention to detail and craftsmanship, were at once beautiful and terrifying—mirroring our contradictory feelings about the body's interior.

In another installation, London artist Alexa Wright asked what the "average" face looks like. Wright used a cumulative cross section of museum visitors to create a digital composite face, then divined each person's character based upon how it deviated from the norm. The installation unveiled some of the assumptions people make about character from facial features, and touched on a larger issue raised by the exhibition: how representations of the body mold biases.