This thesis focuses on the post-revolution generation of Iranian women artists in the US diaspora and examines their engagement with gender and social identities through creative practices against a backdrop of neoliberalism, transnationalism and digitalisation. Employing a framework of performativity, liminality, habitus and capital, and intersectionality, the study draws on semi-structured interviews with 15 Iranian women artists and semiotic analysis of their artworks. By analysing participants’ narratives and cultural products produced within specific social, cultural, and temporal contexts, the study seeks to understand how their identities are constructed and performed in response to rapidly evolving social conditions and events. It also explores how their artwork challenges or reinforces ethnocentric and gender stereotypes. The study spans two moments of international significance: it began during the COVID-19 pandemic and the end of Donald Trump’s presidency, marked by right-wing extremism and heightened Iran-US tensions, and concluded during the Woman, Life, Freedom Movement, a gendered movement originating in Iran and expanding globally, significantly impacting the perspectives and artistic practices of participants. The research concludes that these artists navigate a complex constellation of influences, including their Iranian heritage, experiences within global and diasporic contexts, socio-political conditions framing their existence, and the broader global art ecosystem shaped by neoliberal pressures. Interview material indicates that participants produce art as a reactive form of self-expression, resistance, and identity negotiation. Their art serves as a vehicle for personal and collective expression, challenging and reshaping dominant Orientalist, media, and political narratives. Their negotiation of self is influenced by lived experiences framed by intersections of identity, familial legacies and socio-political currents in Iran, the US, and globally.