At a time of seemingly endless political and social unrest across the globe, many are reacting strongly to injustices and oppression through protest and other forms of resistance. Key among efforts are the ways that art can be used as a form of activism as is expressed through craftivism or the merging of art and craft. Often associated with domestic and feminist materials, proponents claim that craftivism offers an alternative to more demonstrative forms of protest yet critics claim it to be a mostly white, global north form of activism that lacks inclusivity. This article explores the perspectives of university undergraduates enrolled in an introductory craftivism course to understand how their exploration of craftivism, contributed to or challenged their understanding of protest and activism. In this interpretive inquiry, the researcher examines student's written artefacts and research fieldnotes. Findings suggest that the students gained a greater understanding of their beliefs about protest and the nuances and relational intricacies associated with protest, resistance and social action. They also recognised that acts of resistance, fall along a spectrum of negotiations across varying intentions and can fall short of arresting, dismantling and eradicating injustices and if not carefully implemented can even marginalise or disregard the intentions and ideas of others.