In this paper, I explore the emergence of a transnational form of cultural production that defies the traditional clear-cut and unambiguous distinction between “Arab/Arabic” literature/culture from the Middle East, and Arab-American literature/culture. By way of illustration, I examine selected writings of Diana Abu Jaber, (specifically The Language of Baklava), and the visual art (multi-media, photography, installation work) of Doris Bittar and Sama al-Shaibi. The work of each of these authors/artists, illustrates, albeit in different ways and to different degrees, a transnational cultural sphere, that blurs the boundaries delineating these as separate spheres. While U.S.-born Abu Jaber’s cookbook-memoir appears to be a “straightforward Arab American” work, the picture is complicated, both by the author’s movement back and forth for extended periods between Jordan and the U.S., and the resultant configuration of her affiliations with both articulated in the memoir, and by work;s is substantial focalization through her father, who was born and raised in Jordan, and whose cultural and affiliative practices are portrayed as being irreducible to “one or the other.” Doris Bittar’s stunning visual/installation work foregrounds in quite different ways the interpenetration of Arab and Arab American artistic expression. Born in Baghdad to Lebanese parents, Bittar spent her early childhood in Lebanon, then relocated to the U.S. From the U.S., she has returned to the Middle East, spending extended periods of time there. Her work is a unique amalgam of Arab and Arab American artistic and cultural idioms and perspectives, very much shaped by her multiple-locatedness. (I will draw upon four of her exhibits/installations) Sama al-Shaibi is a cutting-edge visual artist who has come to identify her exile and ongoing movement between the Middle East and the U.S. as central to her overall artistic project. A Palestinian-Iraqi-American, she came to the U.S. from Iraq when very young, and found herself encouraged her to “assimilate” in the rural Midwest, followed by frequent movement between the U.S. and the Middle East. Perhaps the most salient theme in her visual work is that of her own Arab/Palestinian/American body, and what it evokes and provokes as a moving target that engages in an ongoing process of crossing borders from one geographical and political sphere to another.