In recent years temporality has become increasingly unsettled in Palestinian cultural production, as writers, artists, and filmmakers have reexamined the relationship between the Palestinian present, past, and future. Examples include Ibrahim Nasrallah’s Palestinian Comedies, Elia Suleiman’s film The Time that Remains, Adania Shibli’s Minor Detail, and Ala Hlehel’s Au Revoir, Akka. While these works vary widely in scope, medium, style, and genre, they reflect an impulse to peer beyond a present moment of spatial constriction and political stagnation. While these works intersect with questions of memory, prevalent in Palestinian representations, they also delve into pasts that fall outside of living memory and into futures that cannot be remembered. In this presentation, I analyze two works that draw on fragmented pasts to imagine distinct and jarring potential Palestinian futures. The first, Larissa Sansour’s Nation Estate, depicts a future in which the entire “State of Palestine” is constituted within a single building. The second, Ibtisam Azem’s The Book of Disappearance, alternates between a near future in which all Palestinians suddenly disappear one night, and the writings of a Palestinian journalist who vanished and left behind a fragmented account of his grandmother’s memories as a survivor of the Nakba in Jaffa interspersed with his own experiences as a Palestinian in 21st century Tel Aviv. I argue that both works, by imagining unthinkable that produce either a Palestine without Palestinians, or Palestinians without Palestine, interrogate the parameters of the Palestinian future as it has been imagined politically and culturally. This future orientation entails looking beyond the nation-state as a Palestinian aspiration through reminders that this model has – and will – fail to liberate Palestinians and Palestine. I consider the means by which these works do this, including the rejection of linear, historical time – often associated with the nation-state – in favor of a jagged and incongruous juxtaposition of multiple potential pasts and futures in a circular and repetitive manner. They also question the power of artifact and trace to legitimize present and future territorial claims and the ability of national symbols to produce meaningful identities, thereby unsettling the notion of the nation-state as an entity of cohesive historical origins that teleologically produces a particular present and future. In a moment of increasing skepticism towards the two-state solution to the Israeli-Palestinian conflict, these works show that going beyond this framework requires a renegotiation of the relationship between past, present, and future.