These drawings fall within the field of algorithmic art, which, in turn, may be more generally included within the field of conceptual art, as understood by Sol LeWitt. Formally, this construction seeks a dialogue with this reference of conceptual art, more precisely with Sol LeWitt’s Instruction 224. It sets face to face an instantiation of this work with an algorithmic image which interacts with it and, by showing examples of its non-conceptual aspect, reinforces its conceptual character. The creative process begins with the study of the graphic “gesture” composed by elements of simple geometry that are standardized and applied according to probability distributions in a repeated and random manner. These drawings explore the tension among several opposed quasi-infinites: the quasi-infinite size of the algorithmic “medium”, the quasi-infinite detail that can be attained through the quasi-infinite repetition allowed by the power of the computational calculus. The quasi-infinite size of the medium becomes, then, present through the surpassing of the pre-defined margins of the paper. These margins are limits imposed by the practicalities of the real world, where the stroke which disappears at the margin hides others that follow it and which are already completely outside of the paper. These latter exist and have been drawn, but have been cut by the forced practical limits of the margins. The quasi-infinite detail manifests itself in the apparent complexity of the drawings. In this case, the process clashes with the resolution of the human eye and its capacity to discern it. Once again, strokes have been drawn which are too minute to be seen or printed.