In most interpretations of Zen rituals and artistic practices, time functions as a foundational concept that shapes perception, action, and lived experience, whether explicitly articulated or implicitly embedded. Within contemporary performance art, time is no longer treated merely as a neutral, measurable framework but as an active and constitutive element of aesthetic experience. This shift has led artists and theorists to explore temporal perception as a qualitative, embodied, and relational phenomenon. The present study investigates how the concept of time in Zen practiceparticularly in the thought of the Japanese Zen master Dōgen is reflected in Marilyn Arsem’s performance project 100 Ways to Consider Time, and how this reflection enables a fundamentally different experience of time for the audience. The central research question addresses how Dōgen’s understanding of time as inseparable from being and action is translated into performative strategies, and how such strategies move the audience beyond a quantitative and linear perception of time toward an intuitive and lived experience of the present. 100 Ways to Consider Time stands as one of the most coherent and systematic engagements with temporality in Arsem’s artistic practice. Despite the growing body of scholarship on performance art and temporality, no independent study has yet specifically examined this project through the lens of Zen philosophy and the notion of qualitative time. Accordingly, this research offers the first focused analysis of this relationship while situating Arsem’s work within broader debates on temporality in contemporary art. Methodologically, the study employs a descriptive analytical approach grounded in library based research, visual documentation, and theoretical texts in the fields of Zen philosophy and performance art. Dōgen’s concept of the “identity of being and time,” articulated most notably in Uji, serves as the primary theoretical framework. From this perspective, time is not understood as an external sequence but as something that unfolds through embodied presence, action, and awareness. The analysis is further informed by phenomenological considerations of perception and experience, particularly with regard to the role of the audience as an active participant in the temporal structure of performance. The findings indicate that in 100 Ways to Consider Time, Arsem suspends the instrumental and linear structure of time through a sustained emphasis on bodily presence, minimal actions, slow rhythm, silence, waiting, and repetition. These elements function collectively to decelerate habitual modes of perception and to foreground duration as a lived quality rather than a measurable quantity. The audience’s prolonged exposure to stillness and repetition operates as a phenomenological training of attention, compelling viewers to confront time as something they inhabit rather than observe from a distance. This mode of temporal engagement closely overlaps with fundamental principles of Zen practice, including no-mind (mushin), presence in the moment, inner observation, emptiness, and the acceptance of impermanence. As a result of this convergence, Arsem’s performances transcend representational strategies and become meditative experiences that invite cognitive and existential transformation.