How and where do architecture and performance collide? Theatre studies has been, over the course of the last decade, increasingly interested in the relationship between stage and space; that inter- est, however, has primarily been figured by marrying theories of human geography with studies of theatrical performance. “The Line, the Crack, and the Possibility of Architecture” asks what it might mean to explore the spaces of performance through the lens of another plastic art—the art of building—and investigates what the discourses of architecture theory, both classical and (post)modern, might have to say to those of us who study the vicissitudes of feminist performance. The article tracks a figure I call the guerrilla actress-architect; she uses her performing body to reshape the plastic spaces of her world and asks us to consider the possibility that feminist performance may, in fact, be a kind of living architectural practice.