La Pocha Nostra has intensely focused on the notion of collaboration across national borders, race, gender and generations as an act of radical citizen diplomacy and as a means to create temporary communities of rebel artists.

In recent years, the troupe has presented work at Tate Modern (London), Arnolfini (Bristol), the Guggenheim Museum (New York), LACMA (Los Angeles), the House of World Cultures and the Volksbuhne (Berlin), MACBA (Barcelona), El Museo de la Ciudad (Mexico City) and the Encuentros Hemisféricos in Lima, Rio de Janeiro, Belo Horizonte, Buenos Aires and São Paulo.

[11] The pair dressed up in a hodgepodge of ethnic drag and bits of Americana such as a baseball cap and grass skirt in the case of Fusco, face paint and a leopard-skin wrestling mask for Gómez-Peña.

Coco Fusco described the piece as "a satirical commentary both on the Quincentenary celebrations and on the history of this practice of exhibiting human beings from Africa, Asia, and Latin America in Europe and the United States in zoos, theaters, and museums.

"[11] During its run, the critically acclaimed piece was performed at major museums and arts festivals in New York, Washington, DC, Los Angeles, Chicago and Madrid, Spain, amongst others.

[13] Besides ongoing projects with La Pocha Nostra (Emma Tramposch, Saul Garcia Lopez, Micha Espinoza, Paloma Martinez-Cruz, Balitronica, and Roberto Gomez-Hernandez), Gómez-Peña has made collaboration an integral part of his artistic practice.

Some of his notable collaborative projects include artworks created with: James Luna, Reverend Billy, Tania Bruguera, Annie Sprinkle, Richard Montoya (Culture Clash), René Yañez, Sara Shelton-Mann, VestAndPage, galindog, Post-Commodity and Non-Grata.