In the Anthropocene era, the actions of the A22 network – including Just Stop Oil and Ultima Generazione – emerge as liminal practices where aesthetics, political dissent, and media spectacularity intertwine, challenging conventional categories of art and activism. This study analyzes these interventions through a material-discursive perspective inspired by Karen Barad's agential realism, highlighting how symbolic elements and economic infrastructures co-constitute the political meaning of practices. Drawing on Gregory Sholette, Boris Groys, and Jacques Rancière, the article problematizes the structural tension between transformative function and the risk of spectacular neutralization of activist art, exploring the concept of "bare art" and defunctionalizing aestheticization. Through emblematic case studies, it demonstrates how these actions perform a re-semanticization of places, rendering them palimpsests of the climate crisis. The article further discusses the political ambivalences related to transnational funding, interrogating the ideological and geopolitical implications of protest. What emerges are the contradictions and potentialities of an aesthetic-political activation that, while risking cooptation, opens new imaginaries for radical dissent.