西方世界對於第三世界婦女報導或研究的刻板印象，成了知識體系的「他者」，爲了破除這樣的迷思，最重要的是拿回自我詮釋的權利，而身處西方世界的第三世界女性則具有這樣的能力來重塑／述第三世界婦女的生命故事與身體經驗。在移動的過程中，身體經驗的書寫成了最佳的發聲管道，而第三世界女性在第一世界中的經驗成了珍貴的資料，尤其是在面臨處於第一世界的少數族裔的情勢下，對於這個新移居國家的認同更是極具考驗的議題，而這些被視爲少數族裔的第三世界人民也在歷史的轉變中意識到，他/她們確實是這個新國家的一份子，這個事實是不容抹煞的，因此本文將以亞裔離散女性藝術家爲代表，探究她們運用身體形象與移動經驗，詮釋離散記憶中的創傷以及再現「他者」的定義，本文所選取的兩位亞裔女性藝術家有其代表性：韓裔美籍的車學敬(Theresa Hak Kyung Cha)、以及印裔英籍的查琳娜敏菊(Zarina Bhimji)。車學敬的錄影裝置與觀念表演藝術是對於失去認同的悲傷儀式，而敏菊再現人體器官標本的攝影作品，則是對於西方所棄絕的「他者」做一顯微鏡式的檢驗。這兩位藝術家分別代表處身於美國以及英國兩大西方霸權國家的亞裔離散女性之心情，因此，本文將採用第三世界女性主義以及後殖民理論加以分析作品，包括史碧娃克(Gayatri Chakravorty Spivak)提倡第三世界女性以身體經驗的書寫對抗西方霸權歷史，以及鄭明河(T. Minh-ha Trinh)所提出的「器官書寫」，以她們所提倡的第三世界女性身體書寫與移置策略，分析兩位亞裔女性藝術家如何透過身體書寫，從創傷與記憶中重生。
As Homi Bhabha claims, the tests of the civilizing mission suggest the triumph of Empire, the collective third world women's text suggests the triumph of decolonization. The study of the issues of third world women can not exclude the experiences of newly immigrant Asian women, who represent the encounters of western cultures and civilizations. During the period of diaspora in the West, Asian women have been bound with the problems of identities of sex, gender, ethnicity, nationality, religion and culture. For these who are treated as other in the West, the definition and the interpretation of the epistemology about ”other” is decided by the hegemony of western pedagogical system. Hence the emergent immigrants of Asian women who are attempting to retell their experiences in order to subvert or displace the meaning and the stereotype of Other, retellings which can heal the traumas of memories. In doing so these women can not only reexamine the fallacy of treatment of Other, but also can create a new space for Asian American Women to reconstruct the location of displacement by using their body images to anticipate the stories of traumatic diasporaic memories. In this paper, two artists are chosen from different regions of Asia as representative examples of these emergent Asian American immigrant women. One is Korean American artist-Theresa Hak Kyung Cha, the other is Uganda born, Indian British artist Zaina Bhimji. Cha's performance art is the conceptual ceremony of sadness of losing identity, whereas Bhimji's photography of human's organs tries to afford a close examination of the abject other abandoned by the West. The authors apply the theories from Gayatri Chakravorty Spivak's promotion of writing the body experience to challenge the discourse of history, and also those from T. Minh-ha Trinh's ”organ writing” to analyze how the arts of these two Asian women could constitute a rebirth and healing of traumas and memories.