Created by Chicanx and Indigenous artists living and working in the US–Mexico Borderlands, Borderlands Shakespeare appropriations situate Shakespeare within the unique context of la frontera, engaging with its hybrid cultures, genres, and languages. These appropriations draw from Anglo, Spanish, and Indigenous traditions, and they confront Shakespeare’s colonial legacies, interrogating the complex layers of colonialism shaping the region and Shakespeare’s reception in it. To explore the decolonial vision of Borderlands Shakespeare, this essay focuses on Edit Villarreal’s The Language of Flowers (1991), an appropriation of Romeo and Juliet set in Los Angeles during Día de los Muertos, and Herbert Siguenza’s El Henry (2014), an appropriation of Henry IV, Part I set in post-apocalyptic San Diego. These plays engage with Shakespeare to critique imperialist policies that have resulted in the dispossession of Indigenous land, the criminalization of migration, and high levels of labor and environmental exploitation. In their use of multilingual Indigenous and Chicanx frameworks to imagine more just futures, Borderlands Shakespeare plays such as The Language of Flowers and El Henry offer valuable methodologies for decolonizing English literary studies and for approaching canonical Western texts in culturally sustaining ways.