The date—24 02 21—functions like the title of a snapshot, a timestamp that both historicizes and anonymizes. It suggests a post-2019, pandemic-shaped era in which digital platforms expanded as primary sites of community and contention. By early 2021, artists and activists had moved much of their work online; livestreamed performances, Instagram personae, and collaborative zines substituted for physical venues. This shift intensified the stakes of visibility: being seen could be life-affirming and also expose one to coordinated harassment. Thus, TransAngels at that date is marinated in precarity—angelic aspiration tempered by the knowledge that sanctuary must be built within hostile environments.