The essay contributes to Cultural Studies as an evaluation of changing practices of media and social activism while highlighting theories of feminism and dialogic aesthetics. More specifically, it discusses women’s use of online self-photography as a protest medium and a platform for feminist activism within two distinctive protest movements, the Umbrella Movement of Fall 2014 and the mainland Chinese feminist movement of 2012–2013. Forerunners of these movements in mainland China can be found in the work of performance artists and sex bloggers such as Ye Haiyan and Muzimei, who have used bulletin board systems and blogs to lay bare their sex lives and the cultural mechanisms of misogyny. Their performances in public spaces and their online postings have also elicited public brawls and significant responses within governmental agencies (Farrer, 2007; Tong, 2011).

The article posits that these discourses also have a historical lineage in the ‘light’ or ‘fleeting’ dissident writings of the Cultural Revolution that generated large-scale responses but did not aim at becoming earnest or solidified works of art (Voci, 2010). In this vein, nudity is employed to titillate and stir fellow netizens rather than offering a coherent and embodied stance. It offers flippant gestures and statements that come to signify ideology within online social movements.