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Using a model of kinship from Cohen, we describe our interaction with other arts research communities and examine our lived experiences with them over more than a decade. We refer to objective “evidence” in the form of documentation and production, encounters and conversations, told through our own perception of our community and of the other communities. The inquiry reveals both national differences and a variety of distinct intellectual frameworks, structures, institutional variations, and limitations among arts-based research communities in the UK, Canada, Australia, and Scandinavia. In particular, we find in the UK-based research of Biggs and Büchler, and the Canadian-based work of Springgay, Irwin, and Kind, fundamental genealogical roots that allow us to conclude that, despite their differences, they are kindred.