This paper explores how the methodology of collage refuses notions of linear temporality through the production of counter-narratives. As a framework for analysis, counter-narrative becomes a useful lens to understand the types of critiques that collage can engender by examining the power and privilege that art history, mass media, and constructions of identity hold in a multiracial world. By focusing specifically on the potential of collage to visualize non-linear approaches to piecing the world together through objects of material culture, this research fills a gap between collage as practice, social critique, and pedagogical methodology by weaving these notionstogether to expose a dynamic interplay between storytelling, history and pedagogy. Engaging the multidisciplinary artistic practices of three emerging contemporary artists working with collage in Canada, Jasmine Cardenas, Aaron Jones, and Anna Binta Diallo provide generative insight to challenge monolithic visual culture to reconcile histories of erasure, oppression, and colonization. Questioning and reconstructing these notions through the production of counter-narratives become a crucial method of resistance to situate radical imaginings in their histories. Ultimately, their work with collage is a direct assurance that another world is possible.