In this study, I perform identity as a shifting borderlands theorized through the process and product of art, performance, writing, and pedagogy. The importance of this study is to first, address a gap in the literature on border and Chicana/o artists in relation to borderlands theories. Second, this study considers what borderlands through food, art, and performance offer spaces of art education. For this study, I employ a methodology of borderlands art practice, a practice-based research that addresses border artist practices and undervisible borderlands spaces. I engage in practices of making food, images, video/GIFs, and performative writing. Next, I use theories and concepts that emerged from the art and performative processes as well as the disciplines of food, public, and border pedagogies to create an uncertain art pedagogy. A multiplicitous mass of doings emerged from this study that performed the borderlands of identity, race/ethnicity, authenticity, and hybrid and impure food practices of the in-between. The visual and performative outcome of this study is fragmented, ambiguous, uncertain, and ambivalent. These processes sit on the borderlands of art education and are comfortable with liminality and uncertainty. Through experience and conversation, hybridized food practices generate new knowledge, or rather, uncertain knowledge. This dissertation occupies an uncertain discipline space in-between art, art education, Chicana/o and Latina/o studies, and food studies. Neither fully art, art education, food nor Chicana/o/Latina/o studies, this study is what queer Chicana writer and feminist theorist Gloria Anzalda describes as a borderland, a vague and undetermined place.