1968
In her October 21, 1968, article for New York Magazine, "The Eyes and Ears of the (Underground) World," Susan Braudy features Max Neuhaus as a key figure in the burgeoning New York underground art scene.
Braudy describes Neuhaus's radical methods of using urban infrastructure for sound, focusing on his early "Public Supply" radio broadcasts where he used telephone lines to crowdsource an improvised soundscape from the city's inhabitants.
The piece captures Neuhaus at the moment he was moving away from being a "star percussionist" for the avant-garde (such as his work with Stockhausen) to becoming an "invisible" architect of sound.
The article places Neuhaus within a broader landscape of radical media collectives, such as Newsreel, suggesting that his use of public airwaves was a form of political and social subversion.
Defining the Underground: Braudy highlights Neuhaus's ability to turn "noise" into art, a theme that would resonate in his later institutional recognition in Art in America and his collaborations with John Cage.
This 1968 feature is one of the earliest to treat Neuhaus not just as a musician, but as a media theorist and urban interventionist, setting the stage for his lifelong project of "shaping sound in space