I believe the reader would find interest in browsing Chapter 1, especially the passage on how the Right, the Church, and the Left disdained women’s personal experiences, as they adopted patriarchal views on women’s issues (Pgs. 29-38). The Right was represented by the military dictatorship. The Church embraced old doctrines concerning the family, maternity, and sexuality. The sectarian Left considered men and women genderless soldiers in the fight against the dictatorship. For them, women’s oppression was rooted in class struggle rather than gender or race inequality. This excerpt also explores how the machista attitude of the cultural agents of the time created a dichotomy between feminist and feminine.Back in the 1960s and 1970s, when this study begins, there were fewer opportunities for social mobility in Brazil, and the art scene was restricted to members of the upper and middle classes who had the economic and cultural capital to navigate an elitist art world. Chapter 4 brings to the forefront a younger generation of artists embracing feminism within the context of the 2013 protests that erupted across Brazil. They unearthed the ways in which the fight against gender inequality intersected with newly invigorating resistance to racial and class-based discrimination. Through social media and new forms of self-representation, discussions of gender inequality and debates of race and class discrimination long overdue in Brazilian society come to the forefront, marking major ruptures with past generations. These artists arose from diverse social backgrounds, including Afro-Brazilian, Indigenous, and non-binary groups. They no longer only came from Rio de Janeiro and São Paulo—Brazil’s hegemonic cultural centers—but also from various regions of the country outside major urban centers. Through them, a more diverse section of society ascended into the artistic scene. (Pgs. 148-86).The final pages of the book were written during the COVID-19 pandemic. As social distancing became the new norm in 2020-21, bodies were confined to domestic spaces, and social interaction was restricted to technological apparatuses, including Zoom video teleconferencing, social media, email, and the phone. Between friends and colleagues, the exchanges often ended up with the expression “Take care of yourself.” And that is how this narrative came to an end: thinking how these artists took care of themselves during difficult times (not necessarily a global pandemic, but surely during significant periods of struggle). They fought the oppressions of their time, envisioning new ways of living, as they stood up against authoritarianism, patriarchal values, and moral conservatism.Currently, new dissident practices are already in place, responding to existing and emerging apparatuses of power and tactics of domination, such as biosecurity, cybersurveillance, environmental degradation, sustainability, anthropocentrism, war, and big data. More will come, producing new strategies of emancipation, and promoting varied forms of subjectification. I hope that the story that began here, with its multiple turns, rhythms, and movements, will continuously evolve and adapt accordingly to new challenges and transformations in times to come.