This essay examines how Guillermo Gomez-Pena's ethno-cyborgs, performance personae that first appeared in his work in the mid-1990s, exploit and critique two overlapping cultural-political movements: the emergence of Internet technologies (cyberculture) and the passage of the North American Free Trade Agreement (NAFTA). After locating the conception of the ethno-cyborg following the 1994 production of "Temple of Confessions", I trace their development throughout Gomez-Pena's work in the 1990s, ending with the 1997 publication of "Friendly Cannibals". I argue that the ethno-cyborgs reveal and challenge a fundamental conflict that preoccupies Gomez-Pena, namely the co-existence of white nationalist discourse and globalization in a post-NAFTA U.S. society. The ethno-cyborgs' ability to exploit and critique (and even offer an alternative to) this paradox speaks to their relevance even today, in a post-9/11 U.S. society that styles itself "postrace." In order to counter this illusion, the ethno-cyborgs embody and enact the process of racial formation--the production and management of "racialized" others through representation--as it pertains to the Chicana/o subject. In doing so, the Chicano-centric ethno-cyborgs insist on recognizing the persistence, even proliferation of cultural borders that continue to marginalize, manage, and limit Chicana/o lived experience in a white hegemonic society.