The current engine of the “computer society” (Cardon) – Big Data and the software and the algorithms that compute and calculate them – is based on a principle of invisibility that, among other things, reconfigures the relationships between humans and technologies, especially in terms of perception and understanding of the latter by the former. The “black box” of computers is, in particular, the incarnation of a limit (even political) to the possibility of seeing and thinking the presence of the “machine” that governs our everyday life, beyond the effects it produces. Contemporary art has attempted to react, often controversially, to this condition: a work oriented precisely towards overcoming this visual and epistemological boundary, in order to show the “intelligence” of the computing society and the detection and observation devices on which it is based. A production that aims to overcome a limit, to show the “new images” of the big data and the algorithms, the way they think, the way they look at us and process us. Among the case studies that the essay will take into consideration: the work of Laura Poitras (in particular Astro Noise, 2016), works by Julien Oliver and Jason Salavon, Exit installation at the Palais de Tokyo (2015).