In the performance ‘Hare’s Blood +’ we staged a public auction of a living relic that we had genetically engineered using DNA from a multiple by Joseph Beuys. Beuys had shrink-wrapped the blood of a hare, an animal that was often involved in his animistic rituals. Through a genetic interface, rising bids at the auction led to the cellular suicide of the molecular organism.We reconfigured the triangular relationship between classification, living matter and capital with its biopolitically motivated taxonomy and determination of species. Thus, ‘Hare’s Blood +’ appealed to a post-animistic sacrifice. Profit-orientated production, creation, engineering and killing of life were confronted with principles of exchange and gift economies. Conceptually, ‘Hare’s Blood+’ is governed by De Castro’s multiperspectivism: he argues that the powerful endowment of a non-human species with human subjectivity, that is, with traits of a former human, requires particular rituals, if killed, otherwise the violent exclusion of the non-human will turn against the human.By refiguring the coordinates in which species-modification (laboratory) and art-value production (auction) took place, we aimed to enhance heterogeneous ontological modes of subjectivity and to give voice to the multiple perspectives involved: the DNA of the animal relic, the living carrier cells, the audience and the shaman auctioneer. The concept aimed at a transindividual, relational becoming that would not anthropomorphize the non-human agents involved or subject them to an anthropocentric standard that only serves human interests.What matters was not what the genetically modified organism is in itself, but where it stood in the network of relations. Considering more than the human perspective, it was less the experience of the creation of a new species than the relational transformation and exchange that removed the genetically modified organism from its taxonomy and standardization.