Abstract

Over the past decade, feminists born during and after the rise of women's liberation have become increasingly preoccupied with the movement's past – its documents and artefacts. This is evident in publications such as Elizabeth Freeman's Time Binds and Victoria Hesford's Feeling Women's Liberation, as well as artistic interventions by artists such as Sharon Hayes and Allyson Mitchell. In different ways, these theorists' and artists' projects each enact a longing for and reassessment of 1970s feminisms. At the same time, a younger generation of feminists comprising women born since 1980 has begun to look back to 1990s feminism as a site of longing and an object of critique. While both generations continue to distance themselves and their projects from nostalgia, this article suggests that rather than reject nostalgia entirely, these projects in fact bring feminist nostalgia into relief, pointing to both its dangers and possibilities.