This thesis examines the sensorial dimension of moving image artworks and its relation to art criticism. Artists and curators continually expand moving images through evocations of multimodal sensory affect, yet criticism has not adequately responded to this impulse. Drawing upon pre-existing scholarship within feminist theory, anti-ocularcentric discourse, film, media and affect studies, this thesis develops a method of embodied criticism in response to a sensory turn in Canadian artistic and curatorial practice. I present case studies of artists Aleesa Cohene and Soft Turns to interrogate the affective relations between artworks and beholders, and how artists, curators, and critics may be triangulated in the sensory network of moving image arts. As much as embodied art experiences destabilize dominant aesthetic and cultural norms, embodied criticism may enhance their social and political potential by giving credence to the senses, building intimate relationships between artists and readers, and calling attention to variable subjectivities in public and private realms.