Yto Barrada’s The Telephone Books (The Recipe Books) fig. 2 documents a coded language invented by the artist’s grandmother, Z.A.B., to record family members’ telephone numbers—an intimate notational system outside of existing language regimes. In Scott Benesiinaabandan’s work little resistances, ancestry and familial connections are set alongside historical photos of well-known Indigenous resistances. In the lightbox, Benesiinaabandan presents an image of his Kookum paired with a scene from the Burnt Church/Esgenoôpetitj Resistance, investigating and celebrating the small and critical histories that serve as pathways for reassertion and reclamation of Indigenous sovereignties. An image of Black Quantum Futurism’s Black Womxn Temporal Portal—a project spanning multiple mediums, IRL and online—serves as a site to consider historical and present-day forms of temporal inequality. Designed as a sanctuary for the unique, intersectional temporal experiences of Black women, femmes, and girls—and their active erasure from linear futures—the portal also prompts consideration of how its users and viewers are working towards ensuring Black Quantum Womanist Futures. Alongside these interventions into time and memory, Erdem Taşdelen’s Demagogues: 5 offers a provocation to question the authenticity of the visible in the public realm. In a digitally-manipulated image of the lightbox site, Taşdelen reproduces a quote from theatre critic Kenneth Tynan that reads as a plea to imagine responses to the rise of illiberal regimes across the globe.