This exhibition included the work of 7 female contemporary artists, who explore their complex embodiment through their vantage point of crip time. How might a feminist, queer, disability perspective bring new understandings of temporality through mobility across various public spaces? Inspired by Alison Kafer’s new book, Feminist, Queer, Crip (2013), how might crip time become a powerful resistant orientation for the disabled subject, that yields productive insights into alternative constructs about the cultural rationality of time? Often crip time is seen through the perspective of longing for a more desirable location, a nostalgia for the past, for a female non-disabled body that is now lost. Through the performance work of artists Liz Crow, Arseli Dokumaci, Helen Dowling, Heidi Kayser, Noemi Lakmaier, Laurence Parent and Sunaura Taylor we come to understand crip time as not only a slower speed of movement, but also a re-orientation to time and bodies that might offer a new methodology for thinking about alternative futures for the disabled subject. In other words, how can crip time become a way of life and how can slow motion become a deliberate, politicized act? How can time become queer? The exhibition included videos, drawing, painting, sculpture and mixed media installations that present the comingling of crip time, intersectional identity, the senses, language, interpretation and access.