Chiang Wen-yu strived to express a strong sense of feminist consciousness in her poems after the lifting of Martial Law. This articulation of feminist consciousness, which was closely associated with the literary fields during the Post-Martial Law Era, had significant implications within the realms of politics and gender studies. Since the mid-1990s, the emerging reports about sexual harassments and sexual assaults in Taiwan, together with a series of sexual liberation and feminist movements, have resulted in feminism exerting a more profound impact on both the academic community and the entire society. It was not until the end of the 1990s that the popularity of postmodern and postcolonial feminisms gradually declined. Under such circumstances, in what ways did the female subjects created by Chiang Wen-yu interact with the cultural and political fields of Taiwan in the form of poetry? This study seeks to examine the variety of Chiang Wen-yu's poetry collections, starting with Men's Nipples (1996), followed by A Ma De Liaoli (2001), He Zhang (2010), Fotuo Zai Maotong Li Zhongxia Meigui (2016), etc. The discussion will also explore the development of the Female Whale Poetry Society and its associated poems, such as Shi Zai Nüjing Yueshen Jilang Shi (1998), Shi Tan Xianying (1999), Zhenjing: 921 Dadizhen Er Zhounian Jinianshi Zhuanji (2001), etc. The primary goal of this study is to provide a holistic insight into the relationship between Chiang Wen-yu's poems and their corresponding literary fields during the Post-Martial Law Era. In addition, it will analyze how feminist consciousness has undergone transformation throughout her poems across 20 years