Unfictional describes the philosophical underpinnings of specific strategies and processes that led to the thesis exhibition of the same name. The defense provided examines the contemporary notion of the ideal, acknowledges its impossibility, and describes how the use of obstruction as a procedural and curatorial strategy functions to produce failed attempts at its attainment, deferring satisfaction and evoking the sense that everything is complete. The forms, constructed from both found traditional and nontraditional materials, which exist in various states of completion, will be analyzed thoroughly in order to demonstrate how the unfinished, provisional nature of the works included in the exhibition ultimately functions as commentary on the loss, the longing, and most of all the doubt, associated with the modern conception of the ideal.