Halfway between a transformation that performatizes the most stereotyped becoming of women and the drag queen as a mythical being, a demigoddess of nightlife, in which transformation rarefies the concept of identity toward other possible genders, Tatu Vuolteenaho (1968, Yivieska), a Finnish transvestite-drag queen, organized a series of underground nighttime parties called Drag Attack from 2013 to 2019 in various gay clubs in Spain. Tatu's happening parties proposed a precarious, do-it-yourself cross-dressing that reclaims the figure of the monster in a shift that goes beyond the subversion of gender binaries to embody a subversion of humans, invoking nonbinary beings that refer to magical, queer, and posthuman figures in relation to art history, pop culture, and recent thought. According to Tatu Vuolteenaho, “Drag queen, drag king, drag freak . . . drag can be anything. We question gender, beauty, race, and condition to the point where spectators can start to wonder whether they are looking at a real human being.”The peculiar aspect of Drag Attack is that it was also proposed as a horizontal collaborative experience of strange community cross-dressing in which the participants cross-dressed in accordance with the concept of each event, in a context such as the commercialized consumption of the pink market. In this way, participants queered the homonormative gay spaces of the nighttime scene. The capacity to transform into a strange other is collectively performatized through body makeup and clothes, playing with the idea of vague, degenerated nonbinary identities and personifying aliens, cyborgs, hybrids, witches, or other queer beings that, on other occasions, refer to seraphim, tetramorphs, and ectopic-eyed archangels with undefined identities. While the gender embodied by the transformations of Tatu Vuolteenaho and the participants frequently passes to a second plane, all the characters performatize, independently of their possible gender, the monster-feminine in a vindication of this minority other as a subversive strategy of binarism. The monster-feminine in Drag Attack, far from being a universal neuter, is a form of being in the world, of being by being drag. Drag here is embodied as the capacity to transgress the very concept of identity. This performative work allows us to rethink the category of the monster from a postgender, posthuman, and queer perspective, as a “deformation and malformation” of the normative mind-body canon. Queering gender refers to the idea of the monster in such a way that the monster is queer par excellence. It is, in its potential threat to humans, what is supposed by a questioning of liberal humanism and its gender binarism. Tatu Vuolteenaho reclaims the drag queen and the transvestite as witches, as gender-dissident beings, performatizing and embodying a queer witch, the fairy as a witch, sister of desires, pleasures, and orgies that accompany cis-women witches in the covens of popular esoteric imagination. Music, dance, altered states of consciousness, desire, and pleasure were conjured in community meeting spaces for the celebration of the other and the electronic fits and outburst of Drag Attack.