Contemporary mapping theories argue that mapping is a creative activity that focuses on the process of mapping rather than on the object of maps. As opposed to traditional views of maps as stable and complete, contemporary cartographies recognize mapping's partial and provisional nature. Thus, mapping is not just an archive of projected points and lines onto a surface, often referred to as a trace; it is a dynamic and complex actualization of un/foldings. Furthermore, rather than a view of space as an empty vessel that objects are placed within, feminist reconceptualizations link space with corporeality and subjectivity. Therefore, what we need to examine is how spaces and bodies are simultaneously created in the process of mapping. In this paper, I examine short segments of student-created videos, investigating how these works of art question subjectivity, representation, and meaning making in relation to bodied space. In doing so I draw on contemporary mapping theories that conceptualize the process of mapping as disruptive and differential, and which enable alternative ways of inhabiting space. Subsequently theories of the fold will also shape an understanding of intercorporeal cartographic meaning making with, in, and through touch. In doing so I argue that what we know is intersected with experience and our corporeal subjectivity. This I contend is paramount in thinking of curriculum inquiry as a process of bodied encounters constructed with, in, and through space. Consequently my arguments are linked to theories of .art education that are located in explorations of identity and subjectivity. Rather than posing questions "about" the body, or how "the body" is represented in visual culture, my analyses disclose the very ways that students negotiate and mediate the contested terrains of body knowledge and subsequently interrogate what it means to know, inhabit, experience, and encounter embodied space. I argue how such thinking might be productive for art education, recognizing that questions of knowing and being are crucial to visual culture [ABSTRACT FROM AUTHOR]