This article considers two Australian feminist artist collectives, Hotham Street Ladies and Brown Council, and explores how their work could be discussed in relation to Amelia Jones’ concepts of “parafeminism” and Catriona Moore’s notion of “doing feminism badly”. The article looks, amongst other works, at the cake-making projects of both groups, the first where Hotham Street Ladies entered their art as absurd entries for the Royal Melbourne Show Cake Decoration competition (where they were judged as in “bad taste” and not accepted) and the second, Brown Council’s Mass Action: 137 Cakes in 90 hours (2012), a durational performance to bake all the recipes in the Sydney Country Women’s Association cookbook which mimicked the language of protest. The essay raises questions about the aesthetic strategies employed by both groups and the ways in which the works create a critical distance to their predecessors and potentially repeat them ‘with distance’ while coming to terms with this past.