Probing the canon of art history and its discontents the essays featured in this volume study responses to the varied ecologies of power within cultures of lens-based and performance art. They examine the horizons of personal and collective memory and the phenomenology of a de-sequential temporality. Focusing on practices which contravene axiomatic relations disciplinary gestures of exclusion and archival impulses towards erasure these essays are drawn from surveys of selected films photo archives trans-media practices and performances in South Asia and beyond.