'Daughter (wet-hole)' is a performance that examines bodily transgression through different thresholds of the external and the internal body. Daughters are those silenced by the white supremacist capitalist patriarchy who must work to recover their mother's story; we must 'give her the right to pleasure, to jouissance… We must find… words… that speak corporeal' (Irigaray, 1991, 43). These words become images, visually writing the body through performance, the mouth and vagina becoming central instruments to explore these theories of the corporeal. These holes ingest, expel, secrete, endlessly transgressing the threshold between outside and inside, between form and formless, between being and becoming. The fluidity of this movement is translated into the performance, where corporeal images are projected, in isolation, on various body parts to provoke questions about the body in order to disrupt the silence surrounding taboos of the abject. Where does this body begin and end? How do I assert my pleasure, my jouissance, within this body and in relation to another body? How does performing the female body, and the abject, dislocate patriarchal economies of representation?