This article examines Ling Ma’s short story “G” from Bliss Montage by focusing on invisibility as a literary device through which female bodily freedom, friendship, and self-erasure are simultaneously imagined. In the story, G is a drug that makes its users invisible. At first, invisibility appears as a fantasy of bodily release: the narrator feels light, unburdened, and temporarily free from the visual discipline attached to femininity. Yet the story gradually complicates this fantasy. The ritual of taking G requires the removal of makeup, clothing, and personal objects, revealing how the female body is normally organized through visibility, surfaces, and social evaluation. As the narrator and Bonnie move through restaurants, streets, stores, and Central Park, invisibility allows them to disturb consumer spaces and ordinary social order, but it also produces anxiety about disconnection and disappearance. Their need to hold hands shows that the invisible body still requires relational anchoring. The final movement from “gravity” to “ghost” transforms G from a tool of escape into a sign of self-erasure. Through close reading informed by feminist theories of the body and visibility, this article argues that “G” presents invisibility as an ambivalent condition: it grants a temporary freedom from being seen, but also exposes the risk of becoming socially, physically, and affectively ungraspable.