1978
In the Summer 1978 issue of MoMA (the Museum of Modern Art's members' publication), the brief article "Underground Music" (p. 7) highlights Max Neuhaus within the context of the museum's growing engagement with sound as a spatial medium.
The piece focuses on Neuhaus's ability to repurpose existing urban infrastructure—specifically the subway system—into a site for artistic experience. It frames his work as "underground" both literally (situated beneath the street) and figuratively (existing outside the traditional gallery walls)
Published shortly after the 1977 permanent installation of Times Square, the article describes the "invisible" nature of the work, noting how it emanates from a subway ventilation grating to create a localized field of resonance [MTA Arts & Design].
Appearance in the MoMA Bulletin signaled a major shift in the art world's recognition of Neuhaus. It positioned him not as a "musician" performing at the museum, but as an artist-architect whose work belonged to the permanent history of modern sculpture and environmental art.
No. 7, Summer, 1978 of MoMA on JSTORjstorhttps://www.jstor.org › stable