The article analyzes applying of the categories of anonymity and subjectivity by the bands Die Tӧdliche Doris and The Residents, that dictate the images and semantics of their visual and audiovisual works. The specificity of the chosen subject stems from the unique borderline and not completely defined position of the bands perceived as art projects within rock culture. The issue of creative individuality in new art forms, as well as its manifestation and destruction, which still remains relevant, is refracted in the works and image-making strategies of Die Tӧdliche Doris and The Residents, giving rise to new forms at the intersection of contemporary art and popular genres of culture. Incorporating the methods of modern and avant-garde art into their creative concepts, the bands under consideration express their critical position regarding mass culture and its images in such forms as ready-mades, album covers, video works, actions and staging. Through the tactics of anonymization, self-deprecation and mystification, the bands build two types of the relationship between the individual and mass culture.