Since the beginning of the 25th of January revolution 2011, political change has been naturally associated with artistic production and creativity. In fact, one of the characteristics of the revolution is the blurring of boundaries between the role of the artist and that of the activist. In other words, many of the artists who came to be associated with revolutionary cultural production are activists who perceive their art as a means towards realizing political change. On the ground though, in Tahrir square, it is hard to determine whether their art informs their activism or whether their political engagement inspires their artistic production. Moreover, the issue of gender complicates this dialectic even further. Indeed, as women continue to struggle to retain a place in “the square”, and to resist efforts to exile them, a nationalist and a feminist agenda intersect and inform artistic and creative production. In this paper I plan to look at the interaction between art and activism through the prism of gender by focusing on three representative women/artists/activists engaging in the production of three different artistic genres: namely Heba Helmi, a painter, Mona Prince, a novelist, and Samia Jaheen, a singer. All three have been directly involved in the revolution since its outset, and all three have, and continue to produce artistic and creative work that crosses over the clear cut boundaries of art and activism. The paper will start off by contextualizing their persons, the multiple roles they play, and their artistic and creative work within a larger historical framework of Egyptian women/artists/activists of an earlier period of the late 1940 and 1950. By touching on that historical period, I explore the exploitation of a feminist agenda by the state to promote a nationalist agenda that excludes women, and the extent to which this tactic is being recreated today. The paper will, therefore, investigate issues pertaining to the way women/artists/activists perceive themselves today, their art, and their relationship to a country that insists on usurping their rights, by comparing selected life histories of women artists/activists of the 1940s and 1950s and personal interviews of the three respective women/artists/activists to show how women’s artistic and creative production has been historically, and continues to be, perceived as a means for political change.