This essay is grounded in activism with street artists in Porto, Portugal, having involved me filming and sharing (Instagram/YouTube) ca. 2150 (mainly musical) performances, mediating conflict, co-founding/-running a street artist association, and lobbying. My activism has come to tangle with historiography of education figured as writing/s- or drawing/s-together of knowledge effecting regarding education, in ways akin to the projects of Bruno Latour: ANT, tracing relational effecting through non/human collective effort across actor-networks and intricate webs of relations, and AIME folded through it, retracing ways actor-networks extend to bind together such effort. I analyse Latour’s compositionist approach through Karen Barad’s agential realist one and vice versa, attentive to differences that matter emerging, to explore possibilities for re-assembling (around) articulations (Latour) and re-membering enfolding-s (Barad) of education and street art through history and the city of Porto. I investigate what it entails to re-compose or re-turn (to) historical coemerging-s of street art and education as matters of concern that gather since they also divide or as phenomena marking inclusions constitutive of exclusions. I endeavour to do so street(-)wise, using film recordings of and interviews with street artists as well as more established history methods and source materials, all troubling time/s.