The Naked feast, taking place in a colonial art deco venue, addresses the postcolonial condition. This performative installation, I propose, affirms a twofold politics and poetics of resistance that is antithetical to patriarchy's hold on the body as a commodity. 
Furthermore, the use of intersectionality complicates the mode of analysis of a “feminist art” and shows the intricacies of gender, marginality and cultural hybridity, markers that I consciously embody. Explicit in the representation is the understanding that indigenous traditions entail the core of what counter-cultural subversion and dissidence could potentially represent in the contemporary “global southern society”. Drawing from Judith Chicago’s last supper, The Naked Feast adds the intersectional twist of bringing to the dinner table the colonial control over women's bodies and reproductive rights through acculturation. With the possibility of contextualizing The Naked Feast and involving Argentinian female artisans in an in-situ approach, we propose to go beyond explicit reflexivity and discourse aimed at disrupting established status quos. The opportunity to bridge between Moroccan and Buenos Aires-centric craftsmanship and indigenous traditions in a single installation would add another layer of South-South cultural intersections to enrich and complicate The Naked Feast, thus illuminating the resistance of the “subaltern”.