Curated by Thom Collins

From Tinguely’s clattering machines to the Happening and much Conceptual practice, the use of sound in art is a history waiting to be written. Renée Green has long infused her art with an aural dimension. Extending this interest, these five new video and sound installations, making up the series “Wavelinks,” address such tendencies as computer music, electronic music, and the political instrumentalization of sound. One provocative project, The Aural and the Visual, promises to consider the role of “auditory experience in the history of art and criticism,” a work of obvious interest to survivors of Acoustiguide-filled blockbusters and College Art Association meetings.

— James Meyer