The desire to speak in a collective voice has long fueled social imagination and artistic production. Organized around a series of case studies spanning the globe from Europe, Japan, and the United States to Africa, Cuba, and Mexico, this book covers such renowned collectives as the Guerrilla Girls and the Yes Men, as well as lesser-known groups. Contributors explore the ways in which collectives function within cultural norms, social conventions, and corporate or state-sanctioned art. They examine the impact of new technologies on artistic practice, the emergence of networked group identity, and the common characteristic of collective production to blur the typical separations between artists, activists, service workers, and communities in need.