Drawing is most itself when other than itself. The exhibition “Des(enho)” ventures beyond drawing by locating the very act (its gesture) in the context of a larger domain: mark-making, mapping, transposing, translating. This list of verbs is not accidental; the exhibition renders acts, actions, activities, rather than objects. Rodrigo Moura, in his brief curatorial statement paraphrasing Rosalind Krauss, proposes the occurrence of “drawing in the expanded field,” a kind of diffusion or invasion of drawing practices into other media. Consequently, the exhibition focuses on works where drawing insists on its own presence—not necessarily as a medium but as a concept, gesture, metaphor. Territorial expansions are precarious and hazardous undertakings. Take photography, for instance, some decades ago: there was an extraordinary expansion and dispersion of the field that gradually yielded to a kind of disruptive dissolution. Or to put it more candidly: there are limitless answers to the question, “what is drawing?”. But will the plethora of possibilities blunt the question, eventually leading towards a conceptual quagmire? Through a conceptually generous selection of works from five artists, the exhibition offers a series of dialogues with the concept of drawing. Marcius Galan’s Drawing a Line (2011) gives us attentive records—or translations—of the most elementary …