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"Over the past 40 years "sound art" has been hailed as a new artistic category in numerous writings, yet one of its first significant exhibitions is mentioned only in passing, if at all. The first instance of the hybrid term sound art used as the title of an exhibition at a major museum was Sound Art at the Museum of Modern Art in New York (MoMA), shown from 25 June to 5 August 1979. Although this was not marketed as a feminist exhibition, curator Barbara London selected three women to exemplify the new form. Maggi Payne created multi-speaker works that utilized space in a sculptural fashion; Connie Beckley combined language and sounding sculptural objects, showing sound in both a conceptual and physical manifestation; and Julia Heyward's work used aspects of feminist performance art including music, narrative, and the voice in order to buck abstract aesthetics of the time. This paper uses archival research, interviews, and analysis of work presented to reconstruct the exhibition and describe the obstacles both the artists and the curator encountered. The paper further provides context in the lives of the artists and the curator as well as the surrounding artistic scene, and ultimately exposes the discriminatory reasons this important exhibition has been marginalized in the current discourse."

"Jana Winderen. Ultrafield. 2013 Jana Winderen. Ultrafield. 2013. Sixteen-channel ambisonic sound installation. Dimensions variable. Surround sound audio softward and installation consultancy by Tony Myatt, Professor of Sound, University of Surrey. Collection the artist."

"Ultrafield, Fieldwork for the 16 channel Ambisonic instalation, MOMA. August 2013 Recordings for the project Ultrafield has been done in several locations, like Kaliningrad in Russia, the Göta river near Gøteborg, in Madeira, Portugal, Oslo, Ranvika by Larvik, in the Molde fjord, Istanbul, London and New York both under water, in air and of ultrasound made by bats. Additional recordings specifically for the piece, recorded at sites near Oslo:"

"Sound has no center. Unlike vision, sound wraps around you, comes and goes, is fleeting. In the online exhibition SOUND MACHINES, seven artists explore the strange world of sound through new technologies. Their works cross optical and aural domains, creating new interfaces between the realms of sound, technology, and art."

"Composer, performer, and sound artist Miya Masaoka considers the vagina to be the "third ear," a site for new ways of listening and perceiving. "

Sophie Landres (Stony Brook University) leads a discussion with artist A.K. Burns on the topic of queer sound, featuring a sonic contribution from artist Jules Gimbrone. Psychoacoustics Session I was presented by AVANT.org at the ALLGOLD MoMA PS1 Print Shop on May 30, 2015.

"What is sound art? And what do we know about its origin story? We explore this question and more with our guest this week, artist and educator Judy Dunaway. An adjunct professor in the History of Art Department at Massachusetts College of Art and Design, Dunaway's recent article, "The Forgotten 1979 MoMA Sound Art Exhibition," is a fascinating look at the history of sound art and highlights important contributions by female artists. In our wide-ranging discussion, we also hear about Dunaway's own artistic practice, from her work with latex balloons to transmission art to a "phone improv" show over BlogTalkRadio a decade ago."