In this paper I chart lines of flight in women artist's narratives. In focusing on the complex interrelations between the social milieus of education and art, what I suggest is that they should be analysed as an "assemblage" where power relations and forces of desire are constantly at play in creating conditions of possibility for women to resist, imagine themselves becoming other and for new possibilities in their lives to be actualised. As a novel approach to social ontology the theory of assemblages offers an analytics of social complexity that accounts for open configurations, continuous connections and unstable hierarchies, structures and axes of difference. In reconsidering resistance as immanent in "dispositifs" of power and "assemblages" of desire, what I finally argue is that women artists' narratives contribute to the constitution of minor knowledges and create archives of radical futurity. (Contains 24 notes and 1 figure.)