Daughterhood is sweet with PSSY2CNT

Spend Daughter’s Day with P2C Collective at Leslie-Lohman Museum of Art

Lily Moskowitz

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Lily Moskowitz

June 3, 2026

It’s Daughter’s Day. It is coincidentally also P2C Collective’s third birthday party. There’s a lot to celebrate, and in classic New York City fashion, it’s all happening at once.

In collaboration with Leslie-Lohman Museum of Art, P2C Collective presents an evening of multidisciplinary performances that embody the artistic rigor defining transfemme lived experience. Spanning live music, poetry, and performance art, the event reflected on daughterhood, lineage, and self-making from the voices of five NYC-based artists.

Founded in 2023 by Justicia Wilson aka Saffronia, and Rosalina Michele aka Girls Girl, P2C (affectionately referred to as Pssy2Cnt) is a multimedia grassroots collective created by and for transwomen. The group sits confidently at the nexus of arts and activism. Their monthly film screening series Cinema Injection, alongside other exhibitions and gatherings, have raised several thousand dollars in mutual aid for trans women in reentry from Rikers Island as well as families affected by the siege on Gaza.

Tonight’s event is free to the public, but it is generating richness of a different sort: that of the heart. Daughter’s Day, for those unfamiliar, is P2C’s newly coined off-calendar holiday to honor the intergenerational passage of the transfeminine experience. It is about carrying forward the legacies of the mothers who came before – from pop cultural icons Jane Fonda and Marilyn Monroe to those honored for their work in trans advocacy, like Marsha P Johnson and Felicia Elizondo, the latter a forgotten mother of the post-colonial transsexual revolution and organizer of the first recorded riot in which trans folks retaliated against the police in 1966. This night in particular is dedicated in memoriam to Eryka Caldwell and Juniper Blessing, both of whom were daughters who never got to grow into motherhood.

“I look to the women in my orbit.”

The members of P2C wear springtime garb and a great many hats. Before the show, members Willa Houlihan and Dainty Barreto describe the collective's transdisciplinary structure. While each participant fills a designated role, they tend to go beyond their titles of “socials” or “marketing.” This is a multi-talented group, and introductions are breathlessly difficult to synthesize. They’re at once musicians and filmmakers, writers and artists, stylists and oracles. Oh, and also bookmakers. I mean, it’s 2026. You’ve gotta be hyphenated. But these girls of P2C are doing it all.

lili Ilil, aka Lili Nagy Marner, opens the showcase with two tracks composed live on Ableton, the infamously inscrutable sonic production software that it seems everyone's still trying to crack. Not Lili, though - she’s crooning vocals into the mic with ease. “Swansong” loops a slow, echoic burn which escalates into a sound I can only relay as carbonated. Imagine hypnosis with a poppish intensity. How does anyone write about music? I ask my friend Charlie, who describes the set as "earthy yet rolling like the sea."

That Lili produces live speaks to a certain immediacy: that is the present tense, the right here, the precious, because it’s like this now but won't be forever. To capture the fleeting is a core node of Lili's work. In May of 2025, she exhibited her Parsons graduation exhibition, titled "Against Efemmera: Solidifying Transfeminine Footprints in an Evererasing Landscape," similarly immortalized the materiality of trans experience through print and portraiture.

This is probably an appropriate time to mention that P2C also has a magazine, because of course they do. December marked the release of their second issue – the publication’s called Femmespread, and for all those invested in print media, you do in fact need this in your collection.

Next up is the inimitable Thee Rose (aka Starveling Moon), who performs a chilling monologue from her sophomore film, Artifice. The project premiered at NewFest and will soon screen at Frameline Film Festival in San Francisco. Thee Rose herself is entrancing, guttural, swaying to an ambient hum that recalls muffled footsteps, anxious childhoods, unanchored faiths. She also enacts a scene from her upcoming gothic trans western, Black Listnessness, which taps into the inherited pain of girls who did not make it long enough to know they are remembered. It is cathartic, this reincarnation, condensing ancestries into spoken word. Like Lili, Thee’s work applies permanence to an unstable form; the oral storytelling we witness will exist in perpetuity through her films.

It feels redundant to say that preserving trans and queer histories is at its most dire and necessary. But I will do so anyway. To put it plainly: there are 658 bills currently under consideration that actively seek to block healthcare, education, and legal recognition from trans individuals in the United States. 50 anti-trans bills have already passed in the last five months, making 2026 the sixth consecutive year to break the record for transphobic legislation.

“The most radical thing you can do for a trans person right now is love us while we’re still here.”

With federally mandated defunding of DEI initiatives and increasing pressure on institutions to comply with right-wing regulations, long-established LGBTQIA safe havens are collapsing. The sanctuary-cum-community space, Bluestockings Cooperative Bookstore, closed just last year. The Bureau of General Services – Queer Division’s beloved bookstore at The LGBT Center is also under threat of shutting its doors. (Though funds are being raised to keep them running! Donations can be made on GoFundMe for those who are able.)

Thankfully, Brooklyn’s Hive Mind Books is still standing. And we will always have the Lesbian Herstory Archive. Not to mention the event’s generous venue, Leslie-Lohman Museum of Art. A most proper home for Daughter’s Day, Leslie-Lohman is the only museum in New York City dedicated solely to the collection, stewardship, and presentation of art by queer artists. What P2C is doing, particularly as a community-funded entity, is no light work. It is collectives like theirs that instill hope for the longevity of queer and trans organizing.

All’s to say, the essence of Daughter's Day is gravely serious, but it is not without play. P2C cofounder Girls Girl takes the stage for a duet alongside her twin brother, the pair proving, with true poignancy, that chosen family can be biological too. Performing under the moniker Girls’ Girl, Girls Girl tells me it is her first time singing in front of an audience, though you’d never guess. She sings a velvet, clear rendition of “Wicked Little Town” from Hedwig and the Angry Inch (a canonically egg-cracking musical), then kicks off her heels without hesitation and asks us to dance. So we do. The room beams, the audience too, all unfettered joy and terrific aliveness.

Hålo then invites the audience to move in closer. Together, and to her. Nicknamed “The Guatemalan Oracle”, Halo guides us through a rhythmic meditation on what it is to be a daughter: of the hustle, of her senses, of movement, of her Leo mom. Like a mystic, she reads out a constellation of daughterhood that finds a nurturing mother in whatever “teaches her how to live." To be a mother is lending clothes, sharing food, teaching younger trans girls how to boof their progesterone, anything to protect your sisters. Yet mothering is also the force of spirit that inspires us to want more from our womanhood.

“It’s because of people like her that we all get to rejoice in our youth.”

I am a cisgender lesbian; what it means to be a woman you’d assume would be instinctual at this point. The transfemmes and transwomen in my life prove this is not the case. That being a woman is a continuous becoming. One which demands maintenance and vulnerability, one which sustains a certain ambiguity, one which interrogates, tenderizes, and unsettles at times. It is from them that I have learned not to take softness for granted. They show me what it is to love truly, to protect fiercely. How to keep grace, nourish rage, and hold conviction (not to mention the art of a perfectly accentuated waist).

That I am writing about transfemininity is an immense privilege; I am certainly not the most apt to be doing it. But I feel an insurmountable responsibility to extend gratitude to transfemmes and transwomen. To amplify the heart in their stories, give volume to their expression, and acknowledge the ways in which lesbians and transfemmes share a certain core. Like all sisters, our communities bicker. TERF (Trans Exclusionary Radical Feminist) ideology and its militants have historically sought a divide between lesbians and transwomen.

Yet it is in evenings like this that separatism feels impossible. Daughter’s Day is about unity, solidarity, and bonds. As the P2C manifesto reads, “we believe that anyone’s pussy can, in fact, be too cunt.” Although membership in the collective is exclusive to those of the trans feminine experience, the group rebukes the term “trans separatists” in favor of “trans exceptionalists,” who move in solidarity with all those oppressed and imprisoned. They also playfully welcome non trans feminine homosexuals to contribute financing and manual labor to their cause through the honorary Fags Auxiliary.

Saffronia closes out the night with several tracks off her upcoming EP, river. In buttery vocals and a soulful harmonica solo, she leaves us with a sense of having understood something like folklore, harmony, lingering sweetness. Her presence itself is lyrical. She reads an allegedly casual composition from her notes app: “Through spaces like these I am able to find the strength to utter the words: I am a daughter, I am the world’s daughter. I am the daughter of my ancestors who used different languages to express themselves. I am the daughter of my ancestors who dreamt of a life free from confines and fallen palm tree leaves. Their dreams became reality, so I can utter the words.” She wrote this twenty minutes ago.Its sentiment will last far beyond the moment of this room.

Credits

Space

Leslie-Lohman Museum of Art

Programming

Performers

P2C Members