This paper addresses the construction of time in Francis Alÿs' Rehearsal (1999-2004) and Tania Bruguera's Untitled (Place, Year) (2000-present) series. These suites posit a model of temporality that questions two foundational premises of the modernist understanding of time, the futuristic regime of historicity, and the categorical differentiation between past, present and future. I argue that their works posit an uncanny temporality where the coordinates of the now are always mapped out in relationship to what was and what is to be
