This article engages with the work of artist and activist Joanne Richardson within the D-Media Collective. Her films, part of the Commonplaces of Transition project, retrospectively reflect on changes following the fall of communism in Romania. I argue that Richardson makes a significant contribution to critically reassessing the so-called "postcommunist" period in recent Romanian history. By investigating relations between media, art, gender, and politics, I situate her work as part of the struggle of a small number of artists and theorists to understand the "postcommunist condition." In the current context, when the rise of right-wing political movements in the region demonstrates the continuities of nationalist and fascist undertones traceable to the pre-communist period, Richardson's work proves instrumental in updating and critically assessing notions like "precarity" from a local perspective, in conversation with transnational feminisms, intersectionalities, and local histories of inequality and dispossession.

This entry covers a brief herstory of feminist moving image practices, as individual artists or collectives have performed them. It aims to consider those less known histories, outside of the main United States and United Kingdom‐centered narratives. Often these refer to feminist work with moving images only as a part of a moment when video, as a more accessible technology, entered the gallery or museum space and afforded this space political potential. The role of this contribution is thus to offer an account that covers as much as possible a wider geographical range, as well as the documented feminist work with moving images performed by women of color and LGBTQ filmmakers and artists.

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