This thesis re-examines the fragmented body trend in contemporary feminist art—a subversive strategy that was first historicized from the 1960s up until the 1990s—by focusing on new media works from the late 2010s that engage viewers in identity performances. The paper looks at Wynne Greenwood’s "More Heads" series (2011–2015) and several works from Sondra Perry’s "Typhoon coming on" show (2018), arguing that these kinds of multimedia experiences represent a development in the mode where bodily fragmentation evokes more nuanced ideas about gender, sexuality, race, and related feminist issues. Greenwood, Perry, and their contemporaries use intimate forms of disembodiment to imagine alternate realities for the self, creating public dialogue through interactive digital-physical exhibitions. Their installations, which address less visible cultural inequalities such as ableism, internalized oppression, and historic trauma that have been absent from most conversations about feminist art, speak to the plurality of feminisms today. Keywords: Feminist art, fragmented body, gender representation, installation art, interactive art, multimedia, new media art, performance art, Sondra Perry, Wynne Greenwood