This article discusses Indian artist Nalini Malani's oeuvre. Malani – in the light rising Hindu fundamentalism – broke conventions, combining wall drawings, erasure performances, theatre plays and video/shadow plays, in order to reach a wider audience. Engaged in the struggle for women's rights and resistance work, the artist's line of work forms an important and innovative contribution to the feminist art legacy, and the art canon in general. The article specifically focusses on previously-thought-lost-or-destroyed Dream Houses. Author Pijnappel interprets this work as the pivotal piece that demonstrates Malani's video art finds its roots from her early involvement with the medium of film in her twenties.