Using 3D CAD software, I added the 3rd dimension to a Brice Marden painting (Attendant 5, 1996). The CAD model was then “printed” in 3D using a rapid prototyping process known as SLA (including color). The facture of this sculptural object mimics both the formal characteristics of Marden’s painting and his painting process. The 3D model was designed to extend to the limits of the machine’s physical envelope similar to the way Marden’s forms extend and rest on the edges of the 2D canvas. The SLA process builds the 3D form by leaving the “powder” unhardened where there is no solid form, similar to way Marden works with the discrete voids or negative spaces in the painting. Further, Marden’s meticulous technique of painting (shifting and editing the forms and composition) mimics the 3D CAD design process used to ‘add’ the dimension. This piece questions modes of representation while existing along the boundary of conceptual art and modernist art practices.