Trans methods provide a way to rework the cultural belief in the inaccurate and limiting false logic that seeing can be equated with knowing, providing a new means of apprehending identity and visuality. Trans embodiments and methodologies offer new modes of being, doing, and thinking that defy cultural ideologies that suture reality to the privileging of sight. Jay Prosser, an early proponent of trans studies, began to explore how trans methods move beyond the inaccurate belief in seeing being equivalent to knowing by emphasizing embodiment. Prosser noted that trans methods are deeply informed by trans embodiments, and trans lives are not based on moving away from one type of body into another (as the binary and linear trans narrative established by the medical and psychiatric industries contends); rather, trans people move further into embodiment.[1] To discuss how trans methodologies provide new models of understanding identity, representation, and visuality, this essay will take Prosser’s observation as a point of departure in discussing the work of performance artist Travis Alabanza, weaving together a conversation about how trans embodiments provide a new method for understanding identity, representation and visuality.