In the 1970s magazines, journals and periodicals constituted an alternative public sphere for second wave feminism. These publications provide an index – and at times the only documentation – of the activities of the women’s art movement as well as its many iterations and divisions. This article addresses this imbalance, arguing that Heresies: A Feminist Publication on Art and Politics (1977–1992) was exemplar of the radical political challenge feminism posed to the art world and culture more broadly. Launched in 1977 by the Heresies mother collective, which included Joan Braderman, Mary Beth Edelson, Lucy R. Lippard, Harmony Hammond and May Stevens among others, the magazine had thematic issues edited by different collectives and comprised of material from an open call. Content ranged from poetry, to academic essays, to artworks both original and reproduced. This article considers the collaborative process of producing the magazine, which attempted to be inclusive, but in fact came to mirror the divisions – as well as political investments – of the broader women’s movement, alongside the dissensus the publication provoked and attempted to confront.