"Gormley has made his reputation with a kind of 'bland humanism that doesn't frighten the middle class'," observed Guardian critic Jonathan Jones during the 2022 debate over the artist's planned 6-metre public sculpture ALERT. That controversy was proof that even Antony Gormley's rectangular bodies can spark cultural jitters. By contrast, Together (2020) is a much quieter, oblique work.  Together fixes one charcoal-dense silhouette in the foreground while neighbouring figures are more distorted. Since the 1990s Gormley has cast his own frame as "a place of lived experience", using iron, lead or ink to map how flesh negotiates space; works on paper such as Bodies In Space (2007) already let figures bleed toward dissolution. Here, the lone figure remains grounded, yet its companions drift, suggesting solidarity and estrangement in a single stroke. Conceived amid the pandemic isolation of 2020, when two metres felt like an ocean between people, the sheet became, in Gormley's words, "an image of community at a time when we are all experiencing isolation." As opposed to his headline-making monuments, it is a meditation on proximity, vulnerability, and the fragile geometry that binds us.