This essay argues that the performed corporeality of performance artist Nina Arsenault demonstrates how gender can be constituted by two mutually exclusive theories of gender simultaneously. Specifically, Arsenault im/possibly embodies gender as performative and as an essential psychic sense of self. Her expression of a feminine identity onstage is incompatible with theories of gender performativity because it incorporates a voluntary act: performance in the theatre. Arsenault also opposes theories that claim gender is an essential psychic sense of self by expressing her sense of self in her art practice/everyday life. Arsenault highlights that the theatrical materiality she embodies, which also further establishes her femininity, is im/possibly performatively constituted. Put simply, Arsenault embodies gender through performance and performativity.