My dissertation examines key junctures in twentieth-century artistic practice where walking has proved a central device for art making: amid the Surrealist, Situationist International, and Fluxus projects. The ambulatory tactics of these movements provide a paradigm for non-object-based art today, as exemplified by Richard Wentworth, Janet Cardiff, and Francis Alÿs, among others. Bipedalism has long been represented in painting, and certainly artists of past centuries have walked to scenic vistas and sketched them, but only in the twentieth century, alongside the rapprochement of art and life and the rise of performance art, has walking itself become art: witness the Surrealist itinerary, the Situationist dérive, the Fluxus walking tour. When art looks so much like life, it is critical to examine the specificity of the practice in question—walking—and how it can be used to resist dominant orders.