This work began as a set of notes and annotations of photographs, videos, and conversations recorded in Chicago’s Union Station. The work evolved in such a way that the text was erased from the work and the video left as a quiet and prolonged documentation of the life-cylce of the Station. The points at which the text once existed became the origin of a broad distortion of the space and is captured in the collages. This distortion was the jumping off point for a meditation on how distorted objects could call into question of totality and monumentality of the Station itself. Without the authority to intervene directly in the space, the painting became a surrogate site for the “intervention,” the structure that is out-of-place, un-hinged, not connected. When this intervention arrives, it breaks the field in / via adding a new dimension, resulting in the vanishing of the image. The question then becomes, where does this intervention that is derived from the collages occur? Could the elements that are added be a structuration of the conversations that are captured through the artist’s presence? A further evolution of this work might be to re-introduce text in order to call attention to the real spaces that might also be subject to a similar distortion. Ultimately, the angled wood elements, the monochrome paintings that trace the vanishing of the original image and mark the becoming of a new object, and the moving image that acts as the only obvious connection to the undistorted reality of the origin, are intended to be juxtaposed in the context of an installation within a gallery.