1. Gender misidentified:
"Male artists" in paragraph four is a misreading; nowhere in the book is it stated that these artists self-identify as male. The two artists referenced are non-binary queer artists. The artworks depicting female sexuality are contextualized within the exhibition discussed in the chapter, which resulted in broader criticism and protests against censorship in the educational university in which the exhibition was banned; the pieces were not positioned as a direct critique of the state by the artists or the curators.
2. Chapter 2 omitted:
The "local debates" around the group Femen and their "social messages," referenced in paragraph three, are in fact misrepresented here in the omission of any discusison of Chapter 2 in this review. Chapter 2 of the book includes detailed discussion and criticism of Femen's "Sextremism," not only in the local debates, but also the global debates which are laid out in detail. The author's argument is clearly stated, including citing women-of-color feminists in agreement who have named the form Femen's parodies as ethnocentric and even racist.
The author has interviewed many local feminists and scholars, including members of Femen who have since rejected the group, and all are cited. Chapter 1 covers the initial reception of the group during their time in Ukraine. Chapter 2 covers the shift to "Sextremism" after going abroad. Women-of-color scholars and the Muslim communities of feminists who have written about Femen are cited, along with many Ukrainian voices. The author's critical position on Femen cannot be summarized without reading both chapters. For additional clarification, readers may also consult the author's other texts on the subject in two peer-reviewed chapters and three articles, some co-published in anthologies with local Ukrainian feminist researchers (i.e. Routledge Handbook of Gender in Central, Eastern Europe, and Eurasia).