In light of emerging interest in the long-overlooked figure of Afong Moy, purported to be the very first Chinese woman to set foot in the United States, this essay analyzes Lloyd’s Suh’s 2018 play The Chinese Lady. Widely publicized as “The Chinese Lady,” Moy performed mundane rituals of Chinese culture before the American public in numerous venues including P. T. Barnum’s famous American Museum from 1834 to 1851. The Chinese Lady reconstructs the highly racialized and gendered exhibition space to interrogate the convoluted relationship between the Asian female body on display and the audience. Focusing on the play’s critique of the construction of Asian womanhood in a theatrical space, this essay argues for the importance of the subversive possibilities of performative acts and alternative ways of looking that goes beyond the coercive logic of objectification and the rigid binary of subject/object embedded in spectatorship.