Her recent research looks at the way in which globalization has questioned, reinvented or disrupted the discourse of cultural difference. Focusing on the ambiguities and false universalism of so-called ‘feminisms’ and ‘post-feminism’, her work aims to open up the South-South dialogue and contribute to the diversification of traditional forms of knowledge production. Specifically, she addresses the new alliances imagined, pursued and actualized by contemporary feminism in the fields of art practice, art theory and history, curating and activism.

Through the theoretical framework of Hardt and Negri’s ‘multitude’, understood as a global productive force of singularities rather than individuals, where identity is at least temporarily suspended and transversal struggles enacted, Angela Dimitrakaki vindicates the extension of this concept to amplify the possibilities of feminist social praxis. Yet the revolutionary potential of the multitude has also been critiqued by feminist scholars who have noted the poverty of gender analysis in existent theorizations of the concept, or who continue to see benefits in strategic separatism. Within this framework, how can we articulate at a global scale claims made by divergent movements such as ‘chicano feminism’, ‘black feminism’, ‘Caribbean feminism’, feminism of the multitudes, etcetera, without appealing for universality nor perpetuating the Eurocentric liberal feminism? Is it possible to reactivate the project of a feminist and materialist method addressed to the art world in particular and to the global production of knowledge in general?