Scholarship of learning and teaching in studio pedagogies is a paramount concern in the university because of the claims of pedagogical need, innovation and evidence. In this paper, I focus on thinking through how embodiment in the studio can enable different knowings, building evidence to support and problematise claims about studio pedagogies. The paper draws on findings from a current study of the crit in the university studio that used mixed methods and critical feminist theory in order to posit that the crit makes ‘becoming’ and being an artist in multiple ways. I am thinking through Barad’s notion of intra-action (2007) in this context of learning and teaching in the studio, as a mutual process of making. The crit makes relations to the pedagogy of the studio, materially, spatially, temporally and simultaneously that are complex to unpick and untangle. I argue that the crit is an embodied act; it is a ‘made’ pedagogic space of action, affect and sensation. The crit contributes to learning in the studio as a mutual process of making; pedagogically of its localised context, and acculturated to local notions of art production, and expectations and imaginations of becoming an artist.