How might those who have experienced medicalized technologies as forms of neglect, intervention, and surveillance begin to cultivate alternative relations to technology? Drawing on the work of three artists-Lisa Bufano, Sunaura Taylor, and Chun-Shan (Sandie) Yi-I explore the possibility of framing technology as a site for crip kin-making. These artists are activating, interrogating, refusing, and repurposing medicalized aesthetics and technologies, finding within them inspiration and resources for their art practice. Rather than evaluating technologies on the basis of their ability to move bodies and minds into heightened productivity, efficiency, normalcy, and speed, they are creating objects and fostering relations that interrogate those very values. Building on scholars who recognize "kin" as encompassing more than the biological, reproductive, legal, and human, I discuss the possibilities of "crip kin," recognizing the queer possibilities of intimacy with other presences and entities.In Gloves for All, three rows of gloves hang across a gallery wall, and visitors are encouraged to try on the ones that most closely match their own hands.Although the gloves are all made of the same white fabric, they differ in size and shape. A few resemble socks, their curves unbroken by slots for fingers or thumbs. Consisting of eighteen pairs of zero-, two-, three-, four-, five-, and six-fingered gloves, the piece is part of the Project ImPerfect series by Kafer Catalyst: Feminism, Theory, Technoscience 5(1) 2