The relatively fast speeds of vision contrast with the perdurance of many visual art objects, which mainly comprise fixed works in fields such as drawing, painting and sculpture. The work does not change or changes very slowly relative to the lived time of the spectator or the speed of viewing. Chapter 5 argues that the foregrounding of the finished form of the work neglects the slower processes associated with creative production, for, in addition to circumscribing a space, the marks in painting and drawing also make reference to the movement and gestures of artistic production. Even paint as a material indicates the very period of its absorption and drying, and these movements can be somewhat recovered in the act of viewing. The viewer’s time aligns with that of the artist in a way that undermines the speeds associated with representation and the very short durations of recognition. The chapter examines some of the ways that the visual arts disclose their own material times, in which there is a tension between how materials facilitate expression and yet also resist this expressive movement.