作品回溯自身那過往穿梭於各國邊境的空姐經歷。自我身體穿戴屬於空服員的外衣與儀態，來回往返於地平線，穿越國與國的邊界，置換既視感的場景。空姐這角色也乘載著社會不同觀點、階級結構與資本消費等意旨，刻板印象的桎梏似乎讓她失去了話語權，以無聲的方式一一地執行被賦予的角色。

〈邊境漫遊〉，看到的是機艙內日常的風景，航行中空姐與乘客的傳遞互動，她像是個乖順的演員，服膺著他人賦予的詮釋與觀看，以主動或被動的變裝模式不停更衣，呈現出社會的、文化的、政治的、性別的身體景觀。同時，失語的她渴求自我表述，讓口腔反覆咀嚼與噴射的動作，圈構出強烈的、碎形的、抽象的、隱晦的繽紛風景，直射觀者眼底。 

Hsu Hui-Ching used to be a flight attendant, whose work took her over the horizon, traveling through borders and moving between “non-places” such as airports, aircraft cabins and hotels. Finding herself in these familiar yet strange setting, her body becomes disconnected with the surrounding environment, whereas her corporeal space if being seems to become more real. However, the identity of “flight attendant” is structured by gender construction, social class and capitalist consumerism, and is consequently stereotype with many prejudices. The rigid restriction has cost her right to speech, and under such circumstance, she could only silently perform the role she was assigned.

In the video work showing on the 1st-floor hallway, the artist is wearing a facial mask and an airline uniform while chewing food in her mouth spitting it out repeatedly—a symbol of losing her voice yet longing to express herself. An intense, fragmented, abstract, ambiguous landscape is constructed and imprinted in the mind of the audience, creating a force of resistance against the submissive image of a female flight attendant displayed above the stairway. In the video upstairs, the female flight attend, playing her docile role, conforms to other’s interpretation and gaze. Whether actively or passively, she keeps changing her outfit to reveal the social, cultural, political and genderized body.