Barbara Hammer framed deviant perspectives on social relations, on the female body, and on the people who mattered to her, devising an alternative to the male gaze that long ruled, and still remains hegemonic in the worlds of art and cinema. She turned her attention to images and stories from lives—her own and those of other women and men—that were suppressed by the modern apparatuses of the camera and the editing suite, sound and technical abstraction, but also by politics and the medical and media industries; images and stories that were time and again edited out of the common psyche and not even taken into consideration. Hammer put her hand to the task, earnestly and joyfully. She grappled with herself, with her media, with situations that were challenging, with a canon that included some and excluded others, with the aesthetics of her time. And her time spanned half a century.