The second chapter discusses an installation by the California-based artist collective Die Kränken, who made use of the Blue Max Motorcycle Club papers (owned by the ONE National Gay and Lesbian Archives) in a wide-ranging installation that translated a theatrical production staged yearly by the Southern California motorcycle club. In thinking about history, care, and relationality Die Kränken puts particular investment in the nurse as a figure of historical stewardship. Die Kränken’s project is placed in stark opposition to an exhibition of a ‘found’ album of photographs disied by New York gallerist and poet Scott Zieher, who refused to contextually place or research his find before separating the album’s contents and selling them. In critically engaging with Zieher’s project and book—both entitled ‘Band of Bikers’—the chapter concludes that motorcycle clubs, an important engine of the social lifeways and aesthetic programs of broader leather cultures, deserve better than to be shrouded in mystery.