Power is easier to be obtained from human images than humans, it is why advertisements of all kinds of goods are overflowing with the signs of humans. The body of humans is a fountain of unlimited possibility but also mortal being, an impersonal object in capitalism but also an inviolable private territory in terms of law and ethics. This and many other contradictory attitudes about the body arise because, while we can test our consciousness in a Cartesian way, we can never identify the body as our own by reaffirming its temperature, texture, weight, and even heartbeat. Rather, the body reaffirms its ownership while it tries to disappear or separate from someone. In spite of this instability, if the body is the source of power actually, it is not due to itself, but to the tension that the body and the numerous images and objects surrounding form. As running F1 vehicles pull up the personality and instrumentality of humans and things mixing them up, the portraits of men by Mon Kim show that the appearance of men in accelerated media condition proceeds to a hybrid object scraping conventional, cultural, instrumental features, and forms a kind of new order breaking the old suspicion that it sexually objectifies and commercialize the subjects.