The semiotic, one of Julia Kristeva's most important propositions, refers extensively to the pre-Oedipal phase, which signifies the beautiful chaos that cannot be fully described by the discipline of the symbolic. The semiotic released in the symbolic expands the limit of the subject and society, exhibiting the revolutionary power, which provides possibilities of exits, and brings about changes. By de-constructing coercive order, this revolutionary power elicits the lawless ethics where no empowered law exists. Kristeva regards art as atypical passage, through which the semiotic can come to the fore even in the symbolic. In contrast especially to literature that uses language as a medium, visual art can surpass the linguistic limitation because it is positioned as 'the thing going beyond a name even without a name' in the symbolic. Focusing on Jackson Pollock, Hans Haacke, and Robert Wilson, this paper examines the stereoscopic understanding of the semiotic, which Kristeva explained from the perspective of the visual representation of the semiotic. This paper also conducts analysis on Yayoi Kusama's work, which successfully achieves the representation of the semiotic. Art resuscitates the signification of creation and negation, diverging from identity by endlessly de-constructing history, concepts, ideologies, philosophy, and aesthetics, inherited through the representation of the semiotic. Art has the power to subvert the symbolic value system and create a new equilibrium and harmony, thereby conducive to a socio-political revolution. Therefore, art can create a lawless space, which retains a dynamic potential to exclude socio-cultural contrivance.