Touch is a very common sense in the earliest exhibitions related to sound art, and touch is used in most works. This article discusses the key role of touch and the importance of the combination of vision and hearing.

The curators of fur augen und ohren are the musicologist Nele Hertling and the gallery Rene block. They said that the works emphasize technological progress and integrate auditory and visual elements at the same time. “The perception of our time is mainly determined by communication media. Wherever we are, we are surrounded by invisible waves, which can be received everywhere and anywhere and can be made sonorous and vivid.” This opening remark can show this view.

This exhibition includes technical developments in music reproduction and electronic instruments and sound objects (Klangobjectekte). Therefore, this exhibition is a broad interest in innovative technology and its connection between vision and hearing.

“White Cube” refers to a certain gallery aesthetic characterised by its square or oblong shape, white walls and a light source usually from the ceiling

Aesthetics was introduced in the early 20th century to deal with the increasingly abstract phenomenon of modern art. The white wall is also considered a frame, just like the boundary of a photo. The parallel development of architecture and design provides a suitable environment for art.

In 1976, Brian O’Doherty wrote a series of articles for Artforum magazine, which later became a book called inside the white cube. In the book, he faced the modernist obsession with the white cube. He thought that every object in it had become almost sacred, which made reading art problematic.