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This article considers the presence of Latin in art from the beginning of the twentieth century until today. It analyses works by Giorgio de Chirico, Max Ernst, Joseph Kosuth, Giulio Paolini, Rosemarie Trockel, Ian Hamilton Finlay and William Kentridge, and compares their engagement with the Latin language. The article is structured according to the different ways in which these artists unsettle the status of Latin, be it through semantic confusion, material recontextualisation or textual destabilising.