Leo Bersani's contributions to Queer Theory have been essentially traumatic. Ever since “Is the Rectum a Grave?,” with its startling opening sentence (“There is a big secret about sex: most people don't like it” [197]), Bersani's writing on sexuality has disrupted the conceptual coordinates of queer theory, a field that officially welcomes the disruptive. What has made Bersani hard to assimilate is less his psychoanalytic emphasis on the ineluctable masochism of sexuality (a principal reason for the aversion to sex) than his insistent conceptualization of sexuality in aesthetic terms. Although his work has never shied from the rebarbative aspects of erotic life, it is, in fact, Bersani's speculations about relationality as irreducibly aesthetic that have proved tougher for the field of queer theory to countenance. (Queer theorists take sexual variance in stride; we have a harder time dealing with art.) It is not merely that Bersani draws examples from literature, painting, sculpture, and cinema when discussing erotic relationality. More fundamentally, his earlier work claimed that art has effects on the human subject akin to those of sexuality, while his later writing proposes a specifically aesthetic subjectivity—rather than the sexual kind—as the preferred basis for relating to the world beyond the self.