As a "Post-Mexican” performance artist operating out of the US for over 20 years, one of my conceptual obsessions has been to constantly reposition myself within the hegemonic maps. Whether this map is the Americas, the larger cartography of art, or my personal biography, one of my jobs has been to move around, cross dangerous borders, disappear and reappear somewhere else, and in the process create "imaginary cartographies” capable of containing the complexities of my multiple and ever-changing identities, voices, communities and performative bodies. This "cartographic project” came to an impasse on 9/11, when suddenly all our geo-political-cultural certainties went berserk. Overnight, theological cowboy emperor Jorge W. Bush imposed a new simplistic and binary map dividing the world into "us” and "them”: "us” meaning strictly those who agreed unconditionally with his imperial policies, and "them,” meaning all savages determined to destroy "democracy” and "western civilization.” Bush's "America” became a euphemism for a place inhabited by warmongers and savage capitalists disguised as freedom-loving patriots and innocent victims of evil. And those invested in destroying Bush's "America” were not only all terrorist sympathizers--even indirect sponsors--but eventually everyone who criticized his fascist policies, including "us,” the critical intellectuals and artists from throughout the world. "We” no longer had a place in Bush's cartography. "We” were not to question his worldview.