This project examines contemporary performances that disrupt normative understandings of time/history. I argue that the complimentary regimes of heterosexuality and capitalism produce the temporal logics that create the psychic and material conditions under which U.S. queer subjects experience everyday, national, and transnational trauma. These logics include the construction of time/history as linear, teleological, and progress-oriented, and the idealized citizen as similarly straight, productive, and amnesic. I then analyze the ways in which queer performance can resist and transform chrono-normativity by creating "time slips": worlds in which past and present are given permission to touch; history/memory to repeat; and the future to reside in the now. Case studies include Ann Carlson and Mary Ellen Strom's Geyser Land (2003); floodlines (2004-2010), which I conceived and directed; and Peggy Shaw and The Clod Ensemble's Must: The Inside Story (2011). I situate my analysis against the backdrop of a post-9/11 security state that makes these performative disruptions particularly vital at this historical moment. / text