The natural landscape of Fire Island Pines reminds Robert of home. This familiar connection to the environment colored his interest in the history and traditions that define the Island’s distinct role in providing refuge and escape for gay men for generations. The iconography of these sites of communion shift in Coombs’ lens, as he attempts to traverse these sacred spaces without a proper path forged for him. In reckoning with the unaddressed barriers to access for wheelchair users such as himself, Robert Andy Coombs captures his community of friends, lovers, and chance encounters from the accessible vantage points afforded to him on the Island. Through a series of intimate and haptic Polaroid images, Coombs pays homage to the photographic practice of Tom Bianchi, revising and contributing to the legacy of his work from an alternative perspective. The tactility of Coombs’ Polaroids draws distinct parallels with Bianchi’s time on Fire Island, while highlighting the progress present in the bodies that move through The Pines today. The ecstasy contained within these frames provides a window into what becomes possible when caretaking becomes a crucial component to the intimacy that proliferates through the Fire island Pines community.