This article describes ideas that came out of two workshops from a statewide Institute in Hawaii, comprised of sixty-five teaching artists, that focused on analyzing best practices. These were collaborative curriculum design workshops that yielded provocative and inspiring theoretical and practical ideas. In the first workshop, small groups of teaching artists were asked to invent "bizarre or extreme" teaching contexts for each other. The groups then sketched curricula to teach specific concepts or techniques in their arts media and to investigate areas of personal interest outside their media. In the second workshop, a large group of teaching artists (all of whom were visual artists) were asked to work as a single group to rapidly develop a comprehensive, balanced, yearlong visual arts curriculum for students of their own choosing; resources and time (within the yearlong period) were to be considered unlimited. The rationale for both workshops was to create time and space for collaborative curriculum invention and design based on the specific expertise and interests of the teaching artists. The curriculum sketches described in this article reveal a wealth of possibilities and insights easily applicable to a variety of "real world" teaching contexts. Following an introduction by Daniel A. Kelin, II, the following are presented: (1) A Note on the Workshops (Nick Jaffe); (2) Bomb Breads: An Extreme Curriculum for the Extreme Teaching Artist (Neida Bangerter and Randy Wong); (3) Munitions Metaphor (Kealoha); and (4) The "Dream Project" (Vicki Penney-Rohner).