1974
The Shift: The entry documents Neuhaus's departure from the concert hall to the public environment. By 1974, he had largely abandoned traditional performance to focus on site-specific installations.
The article aligns with the era's growing critical interest in how sound could be treated as a plastic medium, much like clay or steel, but existing in a purely invisible, spatial form.
This specific citation is often referenced alongside his works like Walkthrough or his early experiments with electronic feedback, emphasizing his role in the de-materialization of the art object.
This publication served as an early institutional validation of Neuhaus within the visual arts world, rather than just the music world, setting the stage for the later critical debates found in Kay Larson's 1980 New York Magazine profile.