Kate MolesFlorence AnekWill BakerDaniel KomakechArthur OworCatriona PennellJennifer Rowsel2025-07-312025-07-312023https://doi.org/10.1016/j.futures.2023.103224https://orcid.org/0000-0002-1926-6525.https://orcid.org/0000-0002-4050-4735.https://orcid.org/0000-0003-0172-2219.https://orcid.org/0000-0002-9062-8859.http://hdl.handle.net/20.500.14270/573This work was supported by the British Academy, Grant no.: SustainableEconomiesandSocietiesYF\190064. We are very grateful to the editors of the Special Issue and our anonymous reviewers, who offered constructive and kind feedback on the first draft of this article, which helped us to clarify and strengthen our arguments.In this paper we empirically explore the ways in which young people were enroled in a multimodal exhibition to creatively produce narratives of their past, presents and futures. We look at the different ways this work was framed, and how all memory work and, we argue, future work is relational, interactionally produced and situated in dynamic and unfolding social and political frameworks. We look at the ways young people described the work of producing accounts of their futures within that setting, and the different forms of labour involved in that process. We explore the encounters that fostered local, more humble, acts of care and repair, and how those everyday practices might help build towards reparative futures.enReparative futuresConflictConvivialityYoung peopleCreativityArticle