“Father, what do the colors of our flag stand for?” “The green is for Islam, the red for the blood of our martyrs, and the white for the pages of our history.” - Dialogue from cartoon in Gyps, FIS End Love (1996) of a discussion between an Algerian father and son. Activists throughout Algeria’s post-independence era have been confronted and interacted with multiple narratives surrounding their country’s post-independence historical trajectory. A number of these takes have hailed from government-backed or supported publications and speeches crafting a limited perspective on the country’s past. Official accounts of history since liberation in 1962, as expressed through the organization of public spaces, memorials, or texts, have particularly glossed over certain moments in the country’s history while stressing others, in effect producing the “white” that Gyps mentions above. In turn, organizations dedicated to the remembrance of victims of the country’s “Dark Decade” such as SOS Disparus have sought to fill in the blank space imposed by the government’s reconciliation process that ended the country’s civil conflict of the 1990s through a variety of mechanisms. They have insisted instead that the country sit with the horrors that the government has insisted that the nation recognize as a “tragedy” and move forward from. Furthermore, artists and “popular intellectuals” (Baud and Rutten, 2004) have also asserted a belief that Algeria’s “march forward” through time can also be reset or put back in time through political figures’ missteps. How can challenging official conceptions of time’s passing in Algeria serve as a source for achieving social justice and/or a means of speaking back against the violence that state-sponsored/enforced amnesia and organizing of time entail? Through an examination of texts from activists, popular intellectuals, and figures that miriam cooke (2016) would qualify as “activist-artists,” this presentation argues that various civilians and groups in Algeria have sought to reshape popular understandings of time as a form of “resistance” and “social memory activism.” These efforts include portraying time as proceeding in a non-linear fashion as well as highlighting how, against state accounts, various members of Algeria’s national community occasionally view time as moving circuitously or in fits and stops. In the process, the present work aims to expand current literature in the field of Middle Eastern and North Africa of social memory activism (Eldridge, 2016; Gutman, 2017) while deepening scholarly understanding of how Algerian communities have viewed post-1962 history and time.