2016
The review, and the exhibition it covers, situates Max Neuhaus within the broader network of the New York avant-garde that Moorman championed as an "impresario" and performer. Key points regarding this context include:
Grey Art Museum
Organized by Northwestern University's Block Museum of Art, the show explored Moorman's role as a "constitutive force" in 20th-century art, moving beyond her fame as the "topless cellist" to highlight her collaborations with artists like Neuhaus, Nam June Paik, and John Cage.
The Avant-Garde Network: Proctor examines how Moorman's Annual New York Avant-Garde Festivals provided a critical platform for Neuhaus's early transitions from a classical percussionist to an experimental sound artist.
Methodology of Performance: The review discusses the challenge of exhibiting "ephemeral" works—like Neuhaus's site-specific sound interventions—through archival artifacts such as annotated scores and documentary photographs.