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This essay explores the ways in which the borderlands of Chicanos are symbolically transformed from “a vague and undermined place” to a future freedom in Cherríe Moraga’s The Heroes and Saints, Watsonville, and The Hungry Women. By utilizing Gloria Anzaldúa’s theory of borderlands along with the geographic concepts of race, culture, gender, and sexuality, this essay argues that these plays function as a kind of “war on forgetfulness” in order to help the audience recognize the spatial loss of Chicanos in McLaughlin, Watsonville, and Phoenix. In these borderlands, residents are excluded on the basis of the “imaginary geography” of the dominant system. The differences of race, culture, gender, and sexuality serve as dominant ideologies to justify the geographical division through conquest, mapping, or mythology. Chicano voices have long been deleted and silenced, yet Moraga’s plays set the stage for the liberation of such unstable Chicano identities as laborers, illegal immigrants, and homosexuals. Here, she creates ‘new mestizas’ based on Aztlán as symbols of the spirit of freedom, which will disrupt barriers and call for a tolerance of differences. In the context of the politics of space, these plays “write freedom” by way of crossing borders spatially manifested in the geography of exclusion, economic enslavement, and patriarchal nationalism.