由「西裝與香花」的研究延伸，《遊蕩》檢視戒嚴時期台灣報紙檔案庫中，與「女扮男裝」、「男扮女裝」、「男蓄髮」等新聞標題相關新聞。由新聞報導可知，戒嚴時期違警罰法賦予警察權力，警察可依據《違警罰法》66 條中，「奇裝異服，有礙風化者。」與 64 條中「遊蕩無賴行跡不檢者」，將路上穿著不符合社會期待性別氣質的可疑人士帶回警局拘留與罰緩。「遊蕩」，警察方面有做「遊手好閒、行為放蕩」解。在路上，著男裝的女子、穿女裝的男人、蓄髮男性等有著酷兒身體外貌之人，警察可依法取締而帶回警局，家內的父權透過警察權力，延伸至國家公權力的監控。拍攝場景扇形拘留室蘊含著國家與警察權力的監視與控制，拘留室前，酷兒們以超越二元想像的身體展演著遊蕩在戒嚴父權中所隱匿的酷兒情慾身分。
Expanding upon the investigations from ‘Suits and Flowers,’ the ‘Wandering’ series scrutinizes news articles unearthed from the archives of Taiwanese newspapers during the martial law era. These articles revolve around topics such as ‘women dressing as men,’ ‘men dressing as women,’ and ‘men with long hair.’ According to these news reports, the Breaches of Police Regulations conferred authority upon the police during that period. According to Article 66 of the Breaches of Police Regulations, individuals suspected due to their clothing choices, described as ‘wearing peculiar or outrageous garments that disrupt societal morals,’ were subject to detainment and penalties. Likewise, Article 64 addressed ‘wandering rascals behaving inappropriately,’ allowing the police to detain and penalize such individuals.
The term ‘wandering’ was interpreted by the police as ‘idleness’ or ‘loose behavior.’ Consequently, individuals displaying non-conforming gender traits—such as women in men’s clothing, men in women’s attire, or men with long hair—could be apprehended on the streets by the police, in accordance with the law, and taken to the police station.
The role of the head of the household extended beyond familial authority figures to encompass state surveillance under police control. The familial patriarchy became entwined with the state’s authority, mediated through the police force. The fan-shaped detention area where this scene was captured represents the surveillance and control exercised by both state and police authorities. In this setting, individuals with a non-binary identity perform their bodies, revealing the concealed queer erotic identity within the martial law’s patriarchal regime.