1982
In her curatorial essay for the 1981–1982
Soundings exhibition catalogue, Suzanne Delehanty frames Max Neuhaus as a central figure in the "invention" of sound art.
Delehanty’s essay explores how sound had been a "little-explored theme" in 20th-century plastic arts. She categorises Neuhaus among artists who "consistently used sound and acoustical phenomena" to create works perceivable by both the eye and the ear.
The catalogue establishes Neuhaus’s philosophy of site-specificity, where the listener's physical movement through a space becomes the "performer" of the piece.