Bound together’s conclusion ruminates on two series by the artist Monica Majoli, who sees her works as both ‘surrogates’ and ‘envelopes’ for herself. In luminous oil paintings of gay male piss orgies and monochromatic gouaches of suspended rubbermen, Majoli visualizes leather scenarios that center the masochist’s body and experiences. Each extrapolates from an archive of lived experiences of an other, forcing Majoli to grapple with questions about subjectivity and sociality. Like Majoli, these paintings have become, over the years, ‘surrogates’ and ‘envelopes’ for the author and the work of collecting, archiving, and entering the scene of leathersex. Connection begets connection, and the transmission of sexual gifts is discussed as a hallmark of leather and queer cultures more broadly.