Drawing is traditionally considered to be a two-dimensional re-presentation of the three-dimensional. What if drawing was liberated from its conventional role of descriptor and rather employed as a strategy where tactics might include nomination, and notation contingently, where materials move outside of standard mark makers and paper, and thus a line drawn by the artist is equivalent to a line created by an existing site element, something as ordinary as a visible drywall seam, shadow, or limb of a tree? Within this context, two dimensions would no longer be a boundary that confines drawing.