The case under consideration, studied for its theological and artistic qualities is that of a sculpture from the Cathedral of Modena known as Potta di Modena, which was actually seen as an obscene image in the chronicles of the sixteenth century, but probably not at all like that in the eleventh century, when it represented one of the marvels of God’s creation. The question of the visibility of intersex people, the possible agentivity of people outside the process of otherness and objectification, are contemporary questions on which scholarly research is long overdue. A peculiar sculpture dating from the eleventh century and heavily restored during the sixteenth century can help us clarify the relationship between anatomical ambiguity and sexuality, in contradiction with Michel Foucault’s false judgment about premodern views on intersexuation.