本文取徑後殖民理論，討論墨美邊境書寫及邊境藝術作品中展現的混雜性，並探究在其特殊歷史脈絡下產生跨越疆界的新主體，開創墨美邊境重新自我定位的新意識。本文首先聚焦於墨裔美籍奇哥那（娜）文學作家安札杜爾的半自傳《邊境》，當中的雙語混雜是無可忽略的關鍵元素。作為墨美文學的代表作家，安氏展現自身族裔認同與文化根源的連結，返向尋根開啟新族裔意識。本文接著探討弗斯科與戈麥斯培尼亞的跨文化戲劇演出，企圖分析《新世界疆界》和《籠中夫妻》的劇本與劇場如何結合混雜語言、身體與科技等媒介，揭露深植人心的殖民遺緒，並對族裔偏見造成潛移默化的改變。最後，本文總結安札杜爾、戈麥斯培尼亞和弗斯科的混雜策略。論文指出非相對主義、多元並存的自我定位，能夠開展帶來改變契機的第三空間，彰顯因殖民統治而受到壓抑的歷史與文化主體性。

Situated within the postcolonial fabric, this study investigates the hybridity of Mexican-American border writing and border art as historically embodied and how it has led to the emergence of a new consciousness in repositioning national boundaries. The first part of this paper emphasizes the critical uses of bilingual hybridity in Gloria Anzaldúa's semi-autobiographical Borderlands/La Frontera. As a representative figure in Mexican-American and Chicanx literature, Anzaldúa fosters the construction of a new ethnic consciousness, retrospectively reconnecting ethnic identity with its cultural origin. Furthermore, this paper analyzes how Gómez-Peña and Fusco's intercultural drama and theater demonstrate the hybrid uses of language, body, and technology. The multimedia expressions in The Couple in the Cage and The New World Border disclose the deep-rooted colonial legacies and bring subtle changes to ethnic stereotypes. Lastly, this paper summarizes how these authors deploy hybridity as a strategy, and argues for non-binary and co-existing ways of self-positioning that inaugurate a potential space for change-the third space-to contest the legacy of colonial repression and to validate a historically and culturally situated subjectivity.