Waiting for Malevich (previously known as Random Walker), comprises an infinite number of digital drawings. Produced by an algorithm, drawings are traces of simple two-dimensional random walk, obeying Brownian motion, wandering on the screen until the current end of the path hits the edge of the frame buffer, the halting condition of the algorithm. The resulting drawing is printed, and the screen buffer is emptied, making space for the new drawing. What started as the most basic algorithmic generative process without any “intelligent” design, a ground zero as it were, embodies both the fractal dimension of difference and Lucretius’ ontology of motion. Each drawing is not a representational copy of some original Platonic form but a material expression of the stochastic process of random walk. A figure, emerging from the movement of pixels, is nothing else than figura, “a form produced through the motion of a trace, line, or a sketch.” It is a trace of a corporeal flow, a pedetic morphogenesis.