This essay began in a footnote—number 2—located at the end of a sentence in the penultimate paragraph of the first section of my article “Haptic Tactic: Hyper-tenderness of the [Mexican] State and the Performances of Lia García,” published in this very journal (Delgado Huitrón 2019: 167). The article approaches the hypertender touch of transfeminist artist, poet, and pedagogue Lia García (La Novia Sirena) through a close analysis of a performance event entitled “Quinceañera,” part of her larger performative project Proyecto 10Bis (2016–17). In the article I propose using the anglophone composite to transgender touch for thinking about what trans embodiment does to the transitivity of touch. A grammatically incorrect (and perhaps controversial) formulation that makes of transgender a verb, to transgender touch intends to foreground the performative force that trans touch holds, in its capacity to do and its ability to undo, notions of gender and sexuality as...

You do not currently have access to this content.