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This panel brings together scholars and curators exploring pioneering women artists whose experimental work, beginning in the 1960s, productively intersected with a wide range of subjectivities, locations, technologies, media, and temporal frames. Of particular interest are the ways in which rise of “intermedia,” and its theorizations, delimit the hybridity of new genres initiated within Fluxus, Minimalist music and dance, experimental film and video, performance, concrete poetry, new media, and other creative enterprises in the twentieth and twenty-first centuries. Visual artists under consideration here directly address the distinct types of knowledge their diverse intermedia practices perform or disable. Thinking about the epistemological, ideological, and aesthetic aims engendered by their work in experimental poetry, video sculptures, computational drawings and process art—as well as what their blind spots can reveal about the period concerns for art—may help us to reflect more critically about how we write about women artists who aim to disrupt the disciplinary boundaries of art and technology.