This thesis analyzes the interplay between destructiveness in art and destructiveness in the human psyche in Siri Hustvedt's The Blindfold (1993) and What I Loved (2003). In order to examine this relationship, the character's destructive tendencies are studied, focusing especially on those destructive and self-destructive behavioral patterns seemingly lacking exterior purpose. In explaining these tendencies in terms of internal motives and intersubjective processes, the explanatory models which are given most importance are psychoanalysis, evil, self-preservation through posing as someone else and Hustvedt's theory of relational identity formation, called "mixing". These concepts are then applied to destructiveness in the artist, the artwork, and the recipient of the artwork. Possible therapeutic effects are pointed to, as are the predominantly destructive effects that come from producing and consuming art relating to destructiveness. The artworks themselves vicariously have destructive effects on their surroundings, and some are capable of subverting distinctions between art and reality, at least for Leo and Iris. The diverse, yet sometimes overlapping, explanatory models make up a complex and ambiguous web of interconnections between destructiveness in art and the psyche, which collectively render clear-cut conclusions about destructiveness as misleading. Still, destructive thoughts and urges tend to grow in strength when they are repressed, while acceptance of one's appreciation of destructiveness, and the dangers it poses, seem to decrease the level of shame and to increase the chances of becoming a fuller, happier self. In this sense, the outcome of catharsis-invoking destructive art relies heavily on strength and awareness to detect and accept hidden, ugly sides of one s psyche. Overall, neither Leo nor Iris succeeds at this. Both, however, receive occasional therapeutic effects from destructive-related art throughout the novels, and Leo more so than Iris.