This article examines the public art practice of the Chinese performance artist Zhao Bandi, aka the ‘Panda Man’, and situates it in relation to the social activism of the Chinese consumer rights campaigner Wang Hai, aka the ‘Anti-Counterfeiting Hero’. Contextualizing the appropriation strategies of these two unlikely figures within contemporary China’s changing legal, market, and media spheres, this article places global contemporary concerns with authenticity, copyright, counterfeits, and fakes in relation to notions of performativity and behavior. Challenging the expectation that appropriation need resemble oppositional or antagonistic strategies of Western precedent, it argues that Chinese figures like Zhao and Wang presented transformative models for consumption and citizenship in 1990s China, laying the groundwork for today’s public discourse of ‘shanzhai’ − a distinctly self-conscious Chinese claim on appropriation.
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