New York

View of “Aura Satz,” 2018. Foreground: The Wail That Was Warning, 2018. Background: works from the series “She Recalibrates,” 2018. Photo: Adam Reich.

View of “Aura Satz,” 2018. Foreground: The Wail That Was Warning, 2018. Background: works from the series “She Recalibrates,” 2018. Photo: Adam Reich.

Aura Satz

Fridman Gallery

In Aura Satz’s numinous exhibition “Listen, Recalibrate” at Fridman Gallery, pieces exploring generations of sound-making women—such as Delia Derbyshire, Pauline Oliveros, and Éliane Radigue—resonated profoundly, while elsewhere in the show the trauma of living with state-sponsored sonic warfare ominously hummed. The works, though unshowy, were rigorously conceived and continued to unfold weeks after viewing.

The Wail That Was Warning, 2018, was a handsome, hand-cranked siren: a stainless-steel barrel laid horizontally on a stand shaped like an inverted V. I turned it at an unhurried pace, not wanting to be the loon going nuts near Fridman’s storefront window. As the slotted drum spun slowly, I heard something like an animal moan—but as the cries of fire trucks drifted in from outdoors, I remembered that this big goofy thing was built to be an alarm. So I churned the handle and brought its

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