<p> In this thesis, I explore two works from Mail Order Brides/M.O.B., <i> A Public Message for Your Private Life </i>(1998) and <i>Mail Order Bride of Frankenstein</i> (2003), that take into account the histories and identities produced within Filipino/a American Communities. I use Sarita Echavez See and Emily Noelle Ignacio's theories on parody to analyze the performative aspects of M.O.B's artworks. According to See and Ignacio, parody can be utilized as a tool to simultaneously form solidarity within Filipino American communities. By examining these ideas, I argue that M.O.B. performs appropriated representations of their ethnic and assimilated cultures by using parody to critique and problematize often-misrepresented individual and cultural identities.</p>