This essay interrogates the visual landscape of technofetishism, particularly in relation to the machine woman, using as a springboard a little-known internet community of technosexuals who collectively refer to their fetish for artificial bodies as A.S.F.R. (alt.sex.fetish.robots). Although A.S.F.R. was made possible by the advent of virtual communities, its fetishistic interests have historical antecedents that were documented in the early literature of sexology. Against their classifications of similar fetishistic practices as variations of necrophilia, as well as subsequent Freudian interpretations of fetishism as grounded in castration anxiety, this essay argues that A.S.F.R. is less about technology in general, or the artificial woman in particular, than it is a strategy of denaturalization that uses the trope of technological “programming” to underscore subjecthood. Like the trope of “hardwiring”—used within cyberpunk as a signal of the constitution of bodies and identities in relation to networked systems of control and power—“programming” serves as a metaphor for the biological and cultural matrices within which desire is articulated and pursued. “ASFRians” experience pleasure and agency through, in a sense, hacking the system, the visual indicators of which often take the form of a female android who has run amok, an image that is typically read as a threat. By drawing analogies between the uncanny artificial bodies at the heart of ASFRian fantasy and those fetishized by the Surrealists, in particular the disarticulated dolls of German artist Hans Bellmer, as well as those within the current technosphere as exemplified by Mamoru Oshii’s anime Ghost in the Shell 2: Innocence (2004), which was deeply influenced by Bellmer’s work, this essay offers an ontology of artificial women that is relevant to the critical understanding of mechanical bodies in popular culture, both past and present.