What happens when the manifold technical labors of design coordination become art? Two years ago, BIM drawings were framed and salon-hung in a Palladian mansion (Figure 1). Curated by Farshid Moussavi, the 2017 Royal Academy show in London, Architecture as an “Instruction-Based” Art, featured two conventions of computer-aided coordination: layers and colors. The aim was “to reveal [architects’ complex] decision-making processes to the public,” giving a “backstage” view “into what architects actually really do.”1 Yet this x-ray vision seems to obscure rather than explain technical labor. I ventured to Drawing Matter, a farmyard archive near Somerset, UK, where some of these works are housed by Niall Hobhouse, a British art dealer, property developer, and drawing collector (Figure 2).