鄭淑麗（Shu-Lea Cheang）以她世界公民的身份探討在全球化的現場當下，人們所面臨的認同問題，她所鎖定的是移民女性與西方世界知識體系的對話，尤其是亞裔女性，當她們面對時空交錯的媒體與網路生活，所帶來的多文化經驗以及身體體驗。在全球化的同時，她們的移動更成為一種實踐，而其中牽涉到的身體移動更成為網路虛擬藝術中的主題。因此本文聚焦探討鄭淑麗在進入二十一世紀後的近作《性愛網絡 IKU》IKU 2000和《嬰兒遊戲》 Baby Play 2001-06系列，以網路藝術中的身體移動經驗，探討她以亞裔女性的身份為出發所引起的身體建構議題，以及在後殖民與全球化的時空中，身體漫遊與跨文化所擦撞出的相關經驗。本文將聚焦以布烈朵堤（Rosi Braidotti）所提倡的「遊牧風格」（nomadism）討論鄭淑麗以亞裔女性的身份，將其作品引介至其他亞洲國家，如日本，以及其他歐洲國家，如：丹麥、荷蘭，她在自身經驗與網路世界如何串連後人類的身體與時間、空間的相對關係，並進一步重塑自我認同與「他者」的主體性。

Shu-Lea Cheang, has restyled herself as a global citizen. In this position she intends to speak to the world with a different voice. As an Asian-American female artist, Shu-Lea Cheang concerns herself with situation of the minority. Her ethnicity and identity therefore leads us to consider her work from a totally different aspect. Artists of this background are capable of raising the issues of race, sex, and identification within Internet art, recognized as it is as a western technology, finding their own virtual life in relation to their cross-national and cross-cultural experiences. As their work has become known, their movement has entered the artistic vocabulary with the body movements involved becoming a subject in Internet virtual art. Therefore, this paper focuses on Shu-Lea Cheang’s art works from the twenty-first century, the IKU series in 2000 and the Baby Play in 2001~06; to confer the issue of body construction raised by her status as an Asian female from the experience of the body’s movement in Internet art, as well as associated experiences initiated by body-roaming and culture-crossing. Shu-Lea Cheang provided another kind of identification as a western “other”. Thus, this paper will focus on applying the aspect of the nomadic style that is introducing her work to other Asian countries such as Japan, and other European countries, for example, Denmark and Holland; the correlation of the post-human body, with time and space, in her self-experience and how she connects these waves in cyberspace.