Drawing Together is an exploration of an important and emerging facet of my research has focused on an intersection of the technological prosthetic and art making as a social practice. The technological prosthetic is a concept that has some precedent in the field of Art Education through the work of Penn State Art Education colleague Charles Garoian (2013) in The Prosthetic Pedagogy of Art. Garoian pursues a Deluezoguattarian enfolding of the acts of pedagogy that emerge from our interaction with art and cultural difference through the ideas of prosthetic pedagogy. While Garoian’s force of thinking is important to my work, my interests take a different tact: I am interested in the non-human pedagogy of technologies as posthuman. The conception of the posthuman is that of a being both within and outside of our fleshy body envelope that incorporates the matter of the world to suggest ways that we are fractured assemblages of matter both organic and artificial. On the other hand, social practice is a form of participatory art engaged in social reconstructionism or a philosophy focused on achieving social change. Art engaged as social practice has raised important questions about the role of the artist in society. It is at this intersection between the social and the posthuman, between the prosthetic and the collective that Drawing Together is focused. In my Borland Project Space residency, I will design and fabricate prosthetic apparatuses of mark making, or what I call drawing machines, that are collectively actualized through group work and cooperative participation to explore what it may mean to draw between us. Drawing in this sense is a social space, a practice that is collectively realized through a prosthetic machine that is literal and pedagogical (much like Garoian’s conception).