The Assisted Readymades begin not with a found object but with an interrupted one — a photograph of a painting that is not yet finished, or of a sketchbook page whose adjacent leaf is blank. The generative operation enters at the point of suspension. It does not complete the work; it proposes a continuation into territory the artist's hand had not yet entered. The distinction matters: completion would imply knowledge of intention, whereas continuation only requires reading the surface — its colour relationships, its mark character, its directional logic — and extending them outward.

The method exploits a structural asymmetry in how generative expansion models process images. Gen-Expand reads the painted area as a context window and produces new material that satisfies the statistical conditions of that context — same palette distribution, similar textural frequency, coherent compositional vectors. What it cannot know is the intention behind the marks. It knows paint, not purpose. This is the operative gap in which the work lives: the generated zone is technically consistent with the original while being ontologically elsewhere. The seam, when successfully dissolved, becomes an epistemological problem rather than an aesthetic one. The viewer who cannot find the join is not failing to look closely enough — they are encountering a genuine indeterminacy about where making ends and generation begins.

The sketchbook operation introduces a further dimension. In a bound codex, the recto and verso of adjacent pages carry a physical relationship — they share a spine, face each other across a gutter, accumulate the same ambient foxing and handling. Gen-Expand operating across that facing blank page can either continue the analog media as if the paper were a single uninterrupted surface, or produce an iteration: a generated response to the drawn page that occupies the same physical object, printed onto the same paper stock. In the first case, the book is extended; in the second, it contains a dialogue between media that did not know each other during making. Both outcomes are exhibited as UV print on canvas or paper — the digital re-entering the physical at the conclusion of the process, in a different substrate but carrying the same surface logic.