In 1994, Denzin and Lincoln suggested an immediate future for qualitative research, very akin to collage. This article begins by examining a seminal early collage work by Kurt Schwitters and ends with an example of the author’s own meta-collage as a means of exploring the model as both a “borderlands epistemology,” an art form, and a research practice. Claims for collage’s potential for rich data collection plus iterative, inclusive, critical practice are made, as with that of bringing the “unthought known” using synecdoche and serendipity to the surface, championing arts-based, “And” methods.