Transcultural artistic productions emerged in the late twentieth century in the border zone between the United States and Mexico still constitute a generative source of empirical evidence and theoretical reflexivity on cultural and national identities and their polyhedral fluctuations. This article examines the work of performance artist Guillermo Gómez-Peña as an exemplary and radical case where both dimensions are synthesized, relieving the border area as aesthetic and strategic base for reflection and creation. This paper revisits the author’s essayistic work and two of his performances that are considered essential to understand the frictions, and liminal identity of contemporaneity: “The New World Border” and “Border Brujo”.