Tom Nicholson is trained in drawing, a medium which he has used to think about the relationships between public actions and their traces, between propositions and monuments, and between writing and images. He has made a number of works engaging aspects of Australia’s colonial history, using combinations of drawings, monumental forms, and posters, often articulating these histories in relation to the histories of other places. His work is often nourished by his disciplinary training in drawing, and particularly drawing’s character as a prospective form, or a process dedicated to meditating upon forms that are yet-to-be. Works like Comparative Monument (Palestine) (2012) and Unfinished Monument to Batman’s Treaty (2011) deploy printed matter to generate ephemeral public actions, in particular through processes of distribution that generate a field of dispersed social encounters.