This thesis aims to critically examine the relationship of digital technology and the modern art gallery in order to find the possible role of art galleries in the future. The integration of technology and the modern art gallery can change the way people experience art in built space. In order to examine this, certain questions needed to be asked. The most important of these questions is authenticity and originality in a digital art gallery. What if, in order for the notion of originality to exist, it needs the notion of the copy; a kind of parasite. What if we don’t consider them as opposites, but rather as variables of a knot. What if there was never an original voice, but only writing. The process of writing itself undermines any notion of a primary original. It creates a space of difference, a gap. The space from one letter to the next, from one word to the next, from the graphite to the paper, and to continue to the digital, the space from 1 to 0. The difference described by Derrida in of Gramatology is the idea of difference through “trace.” Derrida says “The trace is in fact the absolute origin of sense in general. Which amounts to saying once again that there is no absolute origin of sense in general. The trace is the difference which opens appearance and signification.” Through a process of language study a series of spatial conditions were derived from a structured process of analyzing trace. This series of spatial conditions were then used to design the interior and exterior spaces along with arranging the buildings program and circulation through the new University Gallery. These spatial conditions allowed for a development of space that looked beyond simple geometric forms to form genuine experiences derived from a process.