Intersectionality involves the study of the ways that race, gender, disability, sexuality, class, age, and other social categories are mutually shaped and interrelated through forces such as colonialism, neoliberalism, geopolitics, and cultural configurations to produce shifting relations of power and oppression. The concept does not always offer a clear set of tools for conducting social research. Instead, it offers varied strands of thought, pointing to different methodologies and methods for doing intersectional research. In this article, we trace the genealogy of intersectionality as theory and methodology to identify challenges in translating the concept into research methods, and we review debates about what we identify as three “critical movements” in the intersectionality literature, comprising contestations regarding the theory’s aims, scope, and axioms, in scholarship and research. Finally, we consider how these critical movements can offer researchers some guiding ethical principles for doing intersectionality justice in social research.

The representational history of disabled people can largely be characterized as one of being put on display or hidden away. Self-representations have been a powerful part of the disability rights and culture movement, but recently scholars have analysed the ways in which these run the risk of creating a ‘single story’ that centres the experiences of white, western, physically disabled men. Here we introduce and theorize with Project Re•Vision, our arts-based research project that resists this singularity by creating and centring, without normalizing, representations that have previously been relegated to the margins. We draw from body becoming and new materialist theory to explore the dynamic ways in which positionality illuminates bodies of difference and open into a discussion about what is at stake when these stories are let loose into the world.

This article explores twelve short narrative films created by women and trans people living with disabilities and embodied differences. Produced through Project Re•Vision, these micro documentaries uncover the cultures and temporalities of bodies of difference by foregrounding themes of multiple histories: body, disability, maternal, medical, and/or scientific histories; and divergent futurities: contradictory, surprising, unpredictable, opaque, and/or generative futures. We engage with Alison Kafer's call to theorize disability futurity by wrestling with the ways in which “the future” is normatively deployed in the service of able‐bodiedness and able‐mindedness (Kafer 2013), a deployment used to render bodies of difference as sites of “no future” (Edelman 2004). By re‐storying embodied difference, the storytellers illuminate ongoing processes of remaking their bodily selves in ways that respond to the past and provide possibilities for different futures; these orientations may be configured as “dis‐topias” based not on progress, but on new pathways for living, uncovered not through evoking the familiar imaginaries of curing, eliminating, or overcoming disability, but through incorporating experiences of embodied difference into time. These temporalities gesture toward new kinds of futures, giving us glimpses of ways of cripping time, of cripping ways of being/becoming in time, and of radically re‐presencing disability in futurity.