Taking as its case study Amir Baradaran's variegated performance piece, Marry Me to the End of Love (Cite Internationale des Artes, Paris, France, 23-30 June 2012; curated by Feri Daftari), this paper employs a Rancierean approach to investigating the role of aesthetics in altering, rather than (re)presenting, power relations that govern desire and subjectivity in the late modern regime of sexuality. In opposing the representative domain of art, with it premise in Aristotelian mimesis, I interrogate performance ideals consolidated by the rigid boundaries of actor/spectator and aesthetics/politics for the purpose of reconfiguring the content of marriage, the possibilities of pleasure it allows, and the relationship between Islam and Muslim practice. I argue that, as it inserts itself into current debates surrounding the politics of marriage and Islam in relation to the challenges of Western modernity, the performance allows us to consider art not merely in its capacity to engage political debate, but also in its capacity to reconfigure the very terms on which such debate is premised. Consisting of Baradaran entering multiple short-term marriages with as many willing participants as possible, the performance re-articulates the Shi'a practice of Mut’ah, or terminal marriage premised exclusively on the derivation of pleasure. As it outlines the forms of attachment, belonging, and desire the performance makes possible, the paper explores the way in which social and legal recognition might be extended to those not accommodated by, or those suffering at the expense of, traditional marriage configurations. Such an exploration will be considered in its imbrication with homo-nationalist discourse, the heteronormative inheritances of monogamy and non-terminality, and the dominant distributions of pleasure across the body consolidated by a late modern regime of sexuality. Noting that Baradaran's performance critiques contemporary social and legal orders in Muslim and non-Muslim contexts while deriving its critique from within Shi'ism, the paper opens up a site from which to critique social and legal orders outside of dominant Islamophobic, racist, or economically strategic frameworks, ending with a series of reflections on the viability of extending such a site of critique to other social and legal orders.