<p>This article examines Moscow conceptualist Dmitry Prigov’s exploration of “New Anthropology” through monstrous imagery in his poetry and visual art, adopting an interdisciplinary method that bridges inter-art analysis with comparative cultural critique. By crafting hybrid, androgynous figures imbued with symbolic multiplicity, Prigov challenges value-laden binaries, such as human/non-human, official/unofficial, and normal/monstrous. Informed by Russian and European traditions of monstrosity, as well as personal experiences of disability, these figures subvert the utopian ideals of Soviet Socialist Realism and expose the ideological mechanisms that construct deviance. Rather than treating monsters as external threats, Prigov reimagines them as ontological mirrors of the human condition. Unlike Western theorists who articulate posthuman concerns through formal theory, Prigov expresses his vision through art as both evasion and provocation. Employing such techniques as copying, collage, and repetition, Prigov critiques the dangers of excessive oneness, likening it to the monstrous sameness of cloning. His insights, shaped during the late Soviet era, highlight a contrast between Western anxieties over technological threats to human uniqueness and Russia’s identity crisis under ideological rigidity. Prigov’s “New Anthropology,” similar to the monsters it conjures, transcends fixed categories and calls for a rethinking of the boundaries that structure human thought, culture, and power.</p>