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SuicideGirls suffer the same fate as punk music did: their subversiveness is repackaged in commodity form and sold because of its subversiveness. Knowledge of the [conservative] agenda of the owner should prove this, the owner differentiates between a liberal ideology and the rebellion of aesthetics, because he regards rebellion as product. The "rebellious" aesthetic of the model is confused with progress and liberation, when it essentially presents a new [way] of preserving the interest of the masculine gaze.

The SuicideGirls are Venuses of rebellion, to adolescents characterized by a rebellious attitude or to men in their middle-ages who [understand] rebellion as sexual. The tattoos and the piercings becomes emblems of a [marginalized] form of aesthetic beauty, but by process, turn into objects of fetishization. The viewer either recognizes his or her own [personality]/aesthetic in the model or meditates over the Otherness of the model, an Otherness which makes her untouchable. To the viewers in the latter category, SuicideGirls represent an idealized escapism from "normal" sexuality or "normal" aesthetic taste into the world of rebellious Otherness.

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