The temporal turn within queer theory has revealed how bodies are temporally regulated by the institutions of patriarchy, capitalism and compulsory heterosexually. Artistic works by queer practioners feature prominently in the writing of theorists investigating queer time. This thesis focuses on the relationship between endurance performance and queer temporality through a situated reading of work by two Sydney-based, performance practitioners: The Second Woman (2016) by Nat Randall, and Rewind Room (2015) by White Drummer. Paying close attention to the performative tactics of duration, repetition and the backwards glance, this thesis develops new understandings of how artists ‘queer’ hegemonic temporal structures through endurance performance.