This chapter introduces the transvisual project developed in a number of publications since the early 2010s. The project attempts to redefine the approach to the visual, in visual culture studies, and to reconsider the even more intense implication of the visual for the contemporary world. Starting with the assertion of a critical sociocultural “mass” of the visual – detailed in cases from the cultural industry, finance banking, and incarceration and punishment, the chapter focuses first on the limits of existing concepts of the visual in currents of image theory and discourse analysis in visual culture studies, and then proceeds to outline an alternative approach to the visual. The key idea is to approach the visual as a dimension of matter, which implies new organizations of meaning involved with the sensibility of the visual. The chapter develops this idea around the groundbreaking notion of the visual as a dynamic and transformative “flesh,” as suggested by Maurice Merleau-Ponty. This notion is supplemented by arguments from feminist debates on the construction and coercion of the body and its queer genders, indicating a particular “fleshy creativity.” The chapter concludes with examples from the works of William Burroughs and Marcel Duchamp