Abstract

This chapter examines a set of assemblages that have become strongly attached to public feminisms in the latter half of the twentieth century and beyond: the use and modification of the historical ‘We Can Do It’ graphic. Introducing the concept of the ‘protest assemblage’, this chapter explores the creative and critical role of images, bodies, technologies and affects when imagining resistance and refusal in digital and offline contexts. Such assemblages (Deleuze & Guattari 2004) unfold within both heightened and banal settings to become hyper-visible constellations that are ‘plugged into’ to galvanize a sense of political affiliation, or to mobilize (or attempt to undermine) wider activist work.