1. The first thing to consider is that if designers are asked to exhibit in a gallery space, they can design plinths. The built environment as a place of design activity suggests it. This is both trivial and emblematic of the totalising capacities of design.
2. One of the plinths exhibits nothing. The other exhibits waste.
3. Waste indicates the gravity of the environment context in which design operates. Sawn, hacked and milled from the plinths, the waste exposes the transformation of material from natural resource to product of design. In consideration of the grave existential threats created by such transformations, we propose that no designer, maker, producer or artist can avoid a scrutiny of practice. All methods of making, all supply chains and modes of production are suspect until proven otherwise. (Even in the case of a plinth, that might otherwise make two inferences: a. that art objects they exhibit have limited production and lack environmental impact, or b. a conceptual invisibility in deference to the objects they exhibit and the capacity to disregard their material context for attention to another conceptual concern. Neither of these inferences are true or ethical).
4. The exhibition of nothing draws attention to the functionality of the plinth. It also proposes nothing as an aspirational goal for design, because today there is a greater need for designers to do nothing more than something, and to unmake, instead of make.