This chapter examines Japan’s postwar liberal peace through feminist art activism, focusing on the statue politics surrounding the “comfort women” system (1932–45). Centering the ongoing performance Becoming a Statue of a Japanese “Comfort Woman” by Shimada Yoshiko, the chapter analyzes how Japan’s liberal peace narrative relies on a model of victimhood that separates wartime aggression from postwar identity, which sustains moral hierarchies and amplifies the silences implied in national memory. The chapter argues that Shimada’s performative practice articulates an approach to peace grounded in feminist ethics. Through her deliberate positioning as complicit and vulnerable, Shimada disrupts the state-centered temporality that brings war into the postwar and opens for a non-teleological, relational conception of peace that neither seeks closure nor redemption. By understanding artistic performance as ethical world-making, the chapter contributes to feminist peace scholarship by demonstrating how peace can be imagined and practiced beyond institutional reforms and state-led reconciliation, foregrounding responsibility, and the persistence of unresolved histories.