Shu Lea Cheang (Chinese: 鄭淑麗; pinyin: Zhèng Shúlì; born April 13, 1954) is a Taiwanese-American artist and filmmaker who lived and worked in New York City in the 1980s and 1990s, until relocating to Europe in 2000.

[1] Since the 1980s, as a multimedia and new-media artist, she has navigated topics of ethnic stereotyping, sexual politics, and institutional oppression with her radical experimentations in digital realms.

[4] Cheang's work employs film, video, net-based installation, and interface to explore "...ethnic stereotyping, the nature and excesses of popular media, institutional – and especially governmental – power, race relations, and sexual politics.

She admitted to feeling liberated after moving, calling it a process of “self-acknowledgment and affirmation.” Her art career seeded and bloomed in New York.

[8] Shortly after she moved to New York, she joined the collective Paper Tiger Television and started producing live weekly programs that used public-access channels to reach cable subscribers.

[9] After 20 years in New York, she went on a decade of a self-imposed lifestyle as a digital nomad which she says “liberated me from monthly fixed payments of rent, electricity and phone bills.” She lived in Japan, Holland, the United Kingdom,[10] and finally relocated to Paris in 2007, where she currently works and resides.

Curated by philosopher Paul B. Preciado, the immersive installation explored pervasive technologies of control, from surveillance to incarceration, drawing from historical and contemporary cases in which people have been imprisoned due to their gender, sexual orientation, or race.

[18] The film "envisions a post-apocalyptic landscape strewn with electronic detritus and suffering the toxic repercussions of mass marketing in a high-tech commodity culture.

"[23] In addition to the website, Brandon included live public events at the Guggenheim Museum, the De Waag Society for Old and New Media in Amsterdam, and Harvard University.

[27] Contemporary web browsers could no longer recognize much of the early HTML code used on the site, or support the unique Java applets used to animate its text and images.

In December 2016, Conserving Computer-Based Art (CCBA), a joint initiative of the Guggenheim and NYU, obtained approval from Cheang to restore the work.