To tell the story of “Force Times Distance: On Labour and its Sonic Ecologies”—the twelfth iteration of Sonsbeek, an exhibition that has recurred at irregular intervals since 1949—you’d have to begin with a doctor’s bill in the archives of the Dutch province of Gelderland. The receipt notes the treatment of a patient named “Zwarte Anna,” or “Black Anna.” No last name is given because she was a (broken) piece of property; her owners, the Brantsen family, who built the estate in which Anna was pressed, paid the expenditure. There is little else we know, save that she was imported to the Netherlands