In this paper I argue that the bodies of artists and makers are actually performing authenticity. The bodies in the making of craft and the visual representation of this making of craft , are key figures in showing how and where craft is being made, literary and metaphorically speaking. Throughout the history that is being on display in for example design- and crafts magazines, visual representations of making are linking objects to a certain time and place.   My understanding of performing or rather performativity, is informed by the theorists such as Judith Butler and Eve Kosofsky Sedgwick for whom the relationship between saying and doing has become the centre of attention (Sedgwick 1993; Butler 1997; 1999). Although not focusing on the actual making of craft, Butler's theories on gender concerned with ‘doing’ rather than ‘being’ are useful in looking at craft from a critical perspective on what is being done. In introducing her concept of gender performativity, Butler proposes that gender is to be understood neither as an entity nor as a set of free floating attributes, but instead, as continuously being done. In her seminal text Gender Trouble from 1990 she writes ‘gender is itself a kind of becoming or activity to be conceived /…/ as an incessant and repeated action of some sort’ (Butler 1999: 112).  The attributes ascribed to gender are performative, Butler says. So if repeated action makes up the patterns, that are thought of as feminine or masculine, and in turn are making gender, maybe repetition is key in performing authenticity in the making of Craft Made in Dalarna or Småland?