This thesis investigates abject art why it has proliferated since gaining notoriety in the late 1980s/early 1990s. The exhibition, Nebularity, brings together non-traditional abject artworks in order to broaden develop abject theory for the 21st century. By employing Julia Kristeva’s theory on the abject in conjunction with Georges Bataille’s formlessness and Jean Paul Sartre’s interpretation of the hole, Nebularity argues that abject art remains current in contemporary practice because of ability to unsettle the self through the encroachment of the other. Three contemporary artists – Louis Fortier, Jesika Joy, and Kim Stanford – utilize multiple mediums to demonstrate how varied and abstract artworks can have the same type of perturbing and unsettling potential as traditionally defined abject art. By confusing boundaries, imposing intimacy, and deteriorating conventional forms, Nebularity asserts that the abject is not just another genre of art but a means to continually challenge structures of subjectivity and knowledge.