Authors analyzing Amerindian graphism have noted, on several occasions, the important role played by the category of the invisible. Nonetheless, and paradoxically, this invisible is not given as a lack of visibility since it is not introduced as a denial of visibility but rather, on the contrary, as its excess. It is due to our incapacity to receive the wholeness of what is given, that certain things remain invisible. This work shows that Jean-Luc Marion’s phenomenology of givenness allows us to consider invisibility due to the excess of visibility, through the category of “saturated phenomena” applied to the analysis of the idol and the icon. Using the phenomenological model of anamorphosis, it is demonstrated that invisibility due to excess, makes us rethink the relationship between the Subject and what appears, and the modal-ity of the invisible, which is not represented but signified. The Subject must abandon its transcendental primacy and make itself secondary with regards the phenomenon, in order to receive the invisible significance that is given behind the representative poorness of the Amazonian art. As such, from different perspectives, both Amazon studies and phenomenology allow us to overcome the end of metaphysics.