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.
