In contemporary visual arts education, neoliberal managerialism has meant that education has become end-product driven. This article builds on a mindset of how to perform an affirmative critique by analyzing relationality as entanglements of subjects and objects, or educational assemblages, in the visual arts classroom. Drawing on visual ethnography in an upper secondary school in Sweden, we analyze "speeds and intensities" as bodily experienced affect. The speed and intensity increased in the classroom when the teacher introduced materials connected to a film project. The complex encounters and entanglements between human and nonhuman bodies accelerated the intensity in the educational assemblages. As a result, we suggest "a methodology of visual invention" that can resist the logics of the neoliberal discourse and unleash the potentials for creativity by working with learning encounters as well as becoming open and sensitive toward unexpected events.