This dissertation interrogates the utopian performatives of objects at the blurred intersection of materiality, tactility, and time, exploring spaces of resistance grounded in the deferred audiencehood embedded within the seemingly static nature of materiality. By examining the material afterlives of bodies as objects, it investigates how body-objects continue to engage with their environments and retain agency beyond death or physical absence. Through case studies of bodily resistance in Taiwan, the dissertation illuminates how material resistance sustains a revolutionary futurity. This persistence of resistance, anchored in the physical and sensory dimensions of objects and bodies, challenges conventional notions of temporality and agency, inviting a reconsideration of material entities’ potential to carry forward the fight for justice and liberation.Chapter 1 examines the execution photography of political prisoners from Taiwan’s authoritarian regime in the 1950s. Grounded in the optical mechanisms of analogue photography, this chapter explores how the interplay of light and shadow preserves traces of the body, conveying desires for survival and resistance that challenge erasure beyond the photographed subject’s spatiotemporal boundaries. Chapter 2 focuses on Lin Yi-han’s novel Fang Siqi's First Love Paradise and considers literature as an act of seeking justice when formal redress remains unattainable. Through an analysis of the novel’s possible encoded messages, this chapter argues that the veiled testimonies of sexual violence survivors extend beyond the author’s mortality, summoning an unspecified, unknown readership to forge solidarity. Chapter 3 analyzes Paiwan singer-songwriter Aljenljeng Tjaluvie’s pop music as a site of Indigenous cultural resurgence within Taiwan’s contemporary music scene. The sonic dimensions of Indigenous pop music construct a sensorial sound stage that carries the potential to revitalize oral traditions and reclaim Indigenous musical spaces. By examining how sound structures both memory and cultural continuity, this chapter considers music’s role in resisting cultural erasure and asserting Indigenous presence. Together, these case studies demonstrate that bodies possess a political resilience rooted in their material presence. This resilience sustains the potential for the dead to “wait” for encounters with future audiences, allowing hope for survival and redress to endure amid atrocity and censorship while anticipating future possibilities of reemergence and reinterpretation.