In the short film Folding Chair for the Feminist Resistance (2018), a series of images of a folding chair found on the street, seemingly occupies a range of seating configurations from the formal to the feral. The images are overlaid with an ironic narration that aligns the folding chair to an embodied experience of feminist activism past, present and future. If feral can be defined as that which was once domesticated but has now returned to the wild, then going feral is a process of liminality, a boundary practice that disrupts our understanding of the stability of domestication as a one-way process. Feral materiality is the abandoned, cast out and undomesticated object, the liminal and unsettling stuff that haunts the marginal spaces of consumer culture. The transgressive and unstable material culture of domesticity in Folding Chair for the Feminist Resistance is presented back to us as a protest against domestication.