2007
In his article "The Tower and the Line: Toward a Genealogy of Minimalism" (2007), Branden W. Joseph uses Max Neuhaus to challenge the standard "lineal" history of Minimalism.
Joseph argues that Minimalism isn't just about simple geometric shapes or repetitive pulses, but about perceptual systems and environmental control.
Joseph connects Neuhaus to a lineage of "systemic" art. He highlights Neuhaus’s use of electronic feedback (such as in his Feedback works of the 1960s) as a way to create a self-regulating, autonomous sound environment. This "tower" of sound is contrasted with the traditional "line" of musical progression.
Joseph positions Neuhaus alongside artists like Robert Morris and La Monte Young. He argues that Neuhaus’s work moved away from the "object" (the musical instrument or the sculpture) toward the total environment. Neuhaus didn't just place a sound in a room; he used sound to redefine the room’s physical boundaries.
A significant part of Joseph's critique involves the regulation of the senses. He suggests that Neuhaus’s "sound sculptures" operate as a form of "architectural control," where the artist designs how the listener moves and perceives, echoing the broader societal shifts toward systems-based governance in the late 20th century.