This article analyzes Sun Mee Chomet’s play, How to be a Korean Woman, as a point of departure in the history of self-representation by Korean international adoptee writers and artists. The issue of international adoption in Korea parallels the compressed modernity of Korea and Koreans’ changing social and cultural awareness of kinship and ethnic identity. Historicizing international adoption in the Korean context and the controversy over intercountry and interracial adoption within the larger global context, this paper attempts to examine the socio-political commentary and performance politics embedded in Chomet’s play. Chomet’s performance of both humor and satire involves the audience in her shifting sense of belonging and displacement, providing an affective and festive site for social change. Performing international adoption as forced displacement for a transnational audience, Chomet’s diasporic sensibility, based on her life politics, differs from the emancipatory politics of the Baby Boomer generation of American theater artists of Asian ancestry.Representing a new generation of Asian transnational playwrights and performers, Chomet’s work can contribute to creating communities of international adoptees and empower others with similar diasporic experiences through evoking the displaced subject’s sense of mobility and multi-locationality to the audience.