In July 2020 the transdisciplinary artist, curator, and writer Gita Hashemi presented Zan-i keh Mikhaham (The Woman I Want), an online performance that offered a reading of the early radical feminist Zandokht Shirazi’s writing.1 Hashemi left Iran in the mid-1980s, after the Islamic Cultural Revolution, because Tehran University’s School of Fine Arts expelled her for “anti-Islamic activities.” Eventually landing in Canada as a refugee, and based now in Toronto, she has been creating works in new media, installation, performance, social practice, and publishing for the past thirty years. Hashemi’s work focuses on marginalized histories. She draws on rigorous research, which she sees as an intervention in contemporary politics, often using language and text as visual and performative elements. Since her 2008 piece Ephemeral Monument, Hashemi has been known for using calligraphic writing in live performances, an artistic method that she brought to a truly monumental scale in her durational project Grounding, which won the 2017 Ontario Association of Art Galleries’ Best Exhibition of the Year Award.2 Accompanied by archival visuals and sounds, Zan-i keh Mikhaham brought together a cross-generational and cross-border group of Iranian women, including the retired professional athlete Azam Eskandar, the artists Ghazal Partou and Azadeh Pirazimian, the children’s book commentator and seller Farigees, the graduate student Leila Moslemi Mehni, and the theater and performance studies scholar Marjan Moosavi. Although she is relatively unknown today, Zandokht—the pen name for Fakhr Al-Molouk Zandpour, born in Shiraz Iran in 1909—was an exemplary figure among a generation of feminist women who worked hard for Iranian women’s rights at the cusp of the twentieth century and whose activism laid the groundwork for the women’s movement that followed. This interview developed out of an online conversation with the artist conducted in September 2020. In the wake of Iran’s #MeToo (#من هم) movement, Hashemi’s historical perspectives on feminist histories take on a new significance.