The Iranian protestors and Ashtary’s application of the veil to male bodies carries a different message than that proposed by Princess Hijab, however: Princess Hijab’s work posthumously imposes a drag performance through an imperative of obstructed/enhanced visibility steeped in the anxiety-ridden tactility of decomposing, tattered hijabs. Most importantly, it is clear that these men have absolutely no say in the matter. Unlike the reappropriation of the hijab by men as an act of agency or rebellion, these “hijabized” men do not escape from the public sphere, but become intensely present, their exteriority underwritten by an added layer of interiority afforded by the introspective hijab.