The Location of Lines is a nine-minute work for orchestra theoretically and structurally based the piece on the wall murals of Sol LeWitt. The piece follows the standard orchestral arrangement, with three each: flutes, oboes, clarinets, bassoons, trumpets, and trombones; four horns; one tuba; three percussion parts playing various instruments each; harp; piano; timpani; and strings in divisi throughout.

Using LeWitt's work as inspiration, The Location of Lines explores ideas of perception, structure, and texture from a sonic perspective with musical elements, such as harmony, rhythm, and melody abstractly sonifying LeWitt's technique. Taking LeWitt's 1995 Wall Drawing 797 as an example, The Location of Lines was written with a single initial melodic line that fluctuates across the mid-treble register on a horizontal plane (through time), yet is vertically (or harmonically) self-referencing. Background material in the piece supports the initial line by sustaining pitches for greater durations in various octaves, thereby further blurring harmonic movement of the material in the foreground, expanding the frequency content, establishing invariance relationships, and creating a rather seamless kaleidoscopic shifting of color. Further, this line, as well as the accompaniment, is exchanged and redistributed throughout the ensemble.