This chapter explores the biopolitics of genetically modified animals, focusing on GloFish and bioart as examples of biotechnology transforming animals into engineered commodities. Beginning with Martin Heidegger’s question about technology and its link to biotechnological animals, the analysis critiques regulatory systems, aesthetic commodification, and the philosophical implications of genetic modification. By examining Eduardo Kac’s transgenic artwork “Alba” and its fluorescent modifications, the chapter investigates the aesthetics of living media and how biotechnology turns animals into artistic and commercial objects. Comparing Heidegger’s concept of technological enframing with Indigenous ontologies, the chapter shows how “glowing entanglements” blur the nature–culture boundary. The analysis advocates moving from technological dominance to relational care, encouraging multispecies flourishing and ethical approaches to biotechnology as alternatives to the spectacle of biotechnological innovation.