The book is organized thematically in four chapters on different kinds of “dissident practices:” Political Practices, Discursive Practices, Transgressive Practices, and Practices of the Self. The selection of the artists was based on their diverse “practices of resistance,” a term coined by Michel Foucault to convey strategies to build new forms of living and resistance to power. These artists opposed normative policies, resisted authoritarianism, transgressed imposed boundaries, pushed back against female objectification, and challenged construction of “women” as a fixed category. Their works relate to crucial key political moments in Brazil’s history. These include the period of military dictatorship from the mid-60s to the mid-80s, the country’s re-democratization period of the mid to late 80s, its social struggles of the 90s, the ascent of the Worker’s Party in the first years of the 2000s, the return of the Right in Brazil in the mid-2010s, and the emergence of an “overtly feminist art” in the country since 2015. Dissident Practices is not about the history of feminism in Brazil but rather a narrative of a broader history of social resistance from the point of view of women artists.Dissident Practices builds on my 2012 book Brazilian Art under Dictatorship: Antonio Manuel, Artur Barrio, and Cildo Meireles, which analyzes the intersection of the visual arts and politics during the most repressive years of Brazil’s military regime, the so-called anos de chumbo (leaden years) of 1968–75. Growing up in Rio de Janeiro under the military regime and later working as journalist, my inquisitive nature led me to learn more about this repressive period in Brazilian history. More recently, I became interested in exploring a vibrant generation of younger women artists who blossomed in Brazil. at the beginning of the twenty-first century, concomitantly with the “Me Too” movement.Combining my academic background as an art historian and my professional experience as a journalist, I believe I was in a unique position to analyze the artistic production of this tumultuous six-decade period, from the rise of Brazil’s military dictatorship through the present. Major works by artists such as Anna Maria Maiolino, Lygia Pape, Anna Bella Geiger, Lyz Parayzo, Rosana Paulino, Renata Felinto, Sallisa Rosa, and Berna Reale, among others, are discussed through their anti-authoritarian and transgressive practices.