Each time the printer finished printing a seat, the artist detached it from the print bed to arrange it in the exhibition room, which was kept relatively dark. At that exact moment, some of the viewers sitting on the seats would jump up, assuming they were sitting on the artwork, only then recognising the printed object. This moment of surprise marks the moment in which the viewer’s encounter with the seat shifted from “ready-to-hand” to “present-at-hand”. Even though the seat was not *found* object but designed by the artist, it was designed as a seat and through the process of 3D printing, it was becoming a seat. In this sense, it is perhaps more accurate to speak of this seat in gerund form as a “founding” object, foregrounding the work’s processual (and algorithmic) nature.