In this paper, I address the works by the artist group Young-Hae Chang Heavy Industries (YHCHI). The South Korea-based group creates Internet art, exhibited and viewed online. Their works are text-based Flash animation, often referred to as electronic literature or digital poetry. The group uses their website as the main platform for production and distribution of their “immaterial” work in a democratic spirit. I study how the politics of globalization is embraced but also challenged in works like Operation NuKorea (2003), Miss DMZ (2005), and DMZ Bus Tour with Bulgogi Lunch (2009). These works present a narrative by a fictional character who experiences the border between South and North Korea in its multiple layers: as a touristic site, dreamy utopia as well as a frightening war zone. In these works, the border between South and North Korea has multiple implications. It is a spectacle, potential threat, symbol of an anticapitalist dream. In the end, it is co-opted by the flow of global capital. By examining the border as a historical, metaphorical, physical, and virtual site, these works problematize the meaning of the border in borderless cyberspace, revealing that borders are contentious with capital’s push towards a global and borderless world.