New York-based artist Liz Phillips has been making interactive multi-media installations for the past 50 years. She creates responsive environments sensing wind, plants, fish, audience, dance, water, and food. Audio and visual art forms combine with new technologies to create elastic time-space constructs. Sound is often the primary descriptive material.

Phillips has exhibited interactive multimedia installations at art museums, alternative spaces, festivals, and public spaces. These include; The Academy of Natural Sciences, The Milwaukee Art Museum, Queens Museum of Art, The Jewish Museum, The Whitney Museum of American Art, the San Francisco Museum of Modern Art, the Spoleto Festival USA, the Walker Art Museum, Ars Electronica, Jacob’s Pillow, The Kitchen, Rene Block gallery and Frederieke Taylor gallery. Phillips has also collaborated with the Merce Cunningham Dance Company, Nam June Paik, Heidi Howard, Earl Howard, Simone Forti and Robert Kovich.  Her work was presented by Creative Time, the Cleveland Orchestra, IBM Japan, and the World Financial Center. Public spaces as diverse as an alternative energy site in a wind turbine (1981) in the South Bronx, the anchorage under the Brooklyn Bridge, Peavy Plaza in Minneapolis and Art Park in Lewiston NY have been the locations of site-specific installations. “Waves Crossing” was commissioned and presented on Governors Island by Harvestworks and New York State Council on the Arts. “Relative fields in a Garden,” her largest sound installation, was commissioned for the center atrium at the Queens Museum. This twenty-two channel sound installation and mural were a collaboration with her daughter, Heidi Howard. It was installed in the museum for a year and a half. In 2022 Annea Lockwood and Liz Phillips were commissioned to create two installations in Philadelphia, “The River Feeds Back” and ‘Inside the Watershed” by The Academy of Natural Sciences. “Dyning in the Dovecote,” a new sound installation commissioned by Caramoor Center for Music and the Arts, will be open from May 1st – November 1st of 2023.

Phillips received a B.A from Bennington College in 1973. In 1981. she co-founded Parabola Arts Foundation, a not-for-profit organization created by five media artists from varied disciplines (music, sculpture, film, video). Phillips received a Guggenheim Fellowship and numerous Individual and collaborative commissions from New York State Council on the Arts and National Endowment for the Arts as a composer, video artist, audio artist and multi-media artist. She teaches workshops and lectures on Sound and Interactive Media (sculpture department) at Purchase College and at Columbia University in the MFA Sound Program. She has also curated several exhibitions of emerging artists and women making installations with sound.

Video Portrait by Joan Logue


Liz Phillips

Lives and works in Queens, New York.


1969-73      Bennington College, Bennington, Vermont, BA (Interdivisional:
Music and Art) 1973 Assistantship to Nam June Paik for A Tribute to John

1971      California Institute of the Arts, 3-month Arts Residency, invited and
advised by Allan Kaprow and Nam June Paik

1971      Riverside Research Institute, Artist in Residence

1970      The Rose Art Museum, Curatorial Assistantship to Russell Connor for
Vision and Television, Brandeis University

1970      MIT Center for Advanced Visual Studies, Artist Assistantship:
Gyorgy Kepes, Tsai Wen Ying, Ted Kraynick


Solo Exhibitions 

2012      Biyuu” and Plant Fields” UMF Gallery, Farmington, ME. 

2012      Biyuu” with performer, Mariko Endo Reynolds, Roulette, Brooklyn, NY.

2010      Here/Hear: Manhattan is an Island” “Ear to the Earth Festival” White Box, New York, NY. 

2008      Installations by Liz Phillips” The Richard L. Nelson Gallery, UC Davis, CA. 

2007      Gingko Afterglow” Safe T Gallery, Brooklyn, NY. 

2004      New Sound Works” Frederieke Taylor gallery, New York, NY. 

2002      Re-Sound/Sound Screen” Frieda and Roy Furman Gallery at the Walter Reade Theater, Lincoln Center, New York, NY. 

2001      Shaded Bandwidths” (collaboration with Anney Bonney) The Walter Reade Theater, Lincoln Center, New York, NY. 

1999      Echo-Evolution” The Kitchen, New York, NY. 

1993      Locating Web” Myers Fine Arts Gallery, SUNY Plattsburgh Art Museum, Plattsburg, NY. 

1993      Graphite Ground” Contemporary Art Center, Houston, TX.  

1992      Mersonic Illuminations” The World Financial Center, New York, NY.

1989      Graphite Ground” Madison Arts Center, Houston, TX. 

1988      Fluid Sound” Kala Art Institute, Berkeley, CA. 

1988      Graphite Ground” The Whitney Museum, New York, NY. 

1987      Graphite Ground” Capp Street Project, SF, CA. 

1985      Cymbal” San Diego State University, San Diego, CA. 

1985      Sound Syzygy” Jacobs Pillow, Lee, MA. 

1984      Zephyr” Walker Arts Center, Minneapolis, MN.

1984      Zephyr” The Coffman Gallery, University of Minnesota, Minneapolis, MN. 

1983      Sunspots” Wadsworth Atheneum, Hartford, CT. 

1982      Sound Syzygy” Walker Art Center, 

1981      TV Dinners” collaboration with Steve Lawrence, PS1 Institute for Art and Urban Resources, Queens, NY. 

1981      Windspun” (in wind turbine in the South Bronx) Creative Time, Bronx, NY. 

1981      Sunspots” Tangeman Fine Arts Gallery, University of Cincinnati, OH. 

1981      Sunspots” Tyler School of Art, PA. 

1978      Metrosonic Province” Stedelijk Museum, Amsterdam, The Netherlands.. 

1978      Metrosonic Province” Rene Block Gallery, Berlin, Germany. 

1978      Metrosonic Province” Haags Gemeentemuseum, Den Haag, The Netherlands.

1977      City Flow: a work in sound” The City University Graduate Center Mall, New York, NY. 

1975      Broken/Unbroken Terracotta” Wadsworth Atheneum, Hartford, CT. 

1975      Broken/Unbroken Terracotta” The Kitchen, New York, NY. 

1974      Sound Structures” Artists Space, New York, NY.

1972      TV Dinner” (collaboration with Steve Lawrence) The Kitchen, New York, NY. 

1971      Responsive Spaces” Reese Palley Gallery, San Francisco, CA. 


Group Exhibitions

2022        “The River Feeds Back,”, collaboration with Annea Lockwood, Academy of Natural Sciences, Philadelphia, PA.

2022        “Inside the Watershed,” collaboration with Annea Lockwood, New Paradise Laboratories, (Arbor on Schuylkill River) Philadelphia, PA.

2022        “Sea Gestures:Sound Swim,” Ilya Friedman Gallery, collaboration with Heidi Howard Curator: Phill Niblock, Experimental Intermedia.

2021         “A Question of Revival,” Frequencies of Tradition in collaboration with Alexander Keefe, Incheon Art Platform, Korea.

2020      “A Question of Revival,” Guangdong Times Museum, China. Curators: Mijoo Park and Hyunjin Kim.

2019      Relative Fields in the Garden” with Heidi Howard, Queens International, Queens Museum, Queens, NY. Curators: Baseera Khan and Sophia Marisa Lucas.

2017      Wave Crossings,” Harvestworks, Governors Island, NY.

2012       A-MAZE-ING Water,” “Spectral Reservoir,” NY Aquarium, Brooklyn, NY. 

2011      The Ocean Reglitterized,” “Spectral Reservoir,” Pelham Art Center, Pelham, NY. Curator: Titia Hulst. 

2011      Ear to the Ear Festival 2010,” “Here, Hear: Manhattan is an Island”, White Box, New York, NY. Curator: Joel Chadabe, EMF 

2010      Beyond/In Western NY,” Albright-Knox Gallery, Buffalo, NY. Curator: Sandra Firman 

2009       Act/React,” Milwaukee Art Museum, Milwaukee, WI. Curator: George Fifield 

2008       Sensory Overload,” Milwaukee Art Museum, Milwaukee, WI.  Curator: Joseph Ketner II 

2005       Echo-Location: Queens,” “CS/EP Intermedia Festival” UCSD, San Diego, CA. 

2004       “Echo-Location: Queens,” Queens International,” Queens Museum of Art, Queens, NY. Curator: Hitomi Iwasaki 

2003      10th Anniversary,” Frederieke Taylor gallery, New York, NY. 

2002       “Re-Sound /Sound Screen,” Lincoln Center Festival 2002, New York, NY.  Curator: Nigel Redden 

2002 “Re-Sound /Sound Screen,” The New York Video Festival, New York, NY.  Curator: Marian Masone 

2002 Magic of Light,” Hudson River Museum, Yonkers, NY. 

2002 “Light x 8,” Jewish Museum, New York, NY. 

2001 “Massless Medium,” Creative Time’s Anchorage Show (with Anney Bonney,) Brooklyn, NY. 

2001 “Dangerous Waves,” Boston Museum School, Anderson Gallery (with Anney Bonney), Boston, MA.  

1998 Luistervissen”, Ijsbreker, Amsterdam.  Curator: Paul Panhuysen 

1996 “Natural Spectacles”; David Winton Bell Gallery, Brown University, Providence, RI, Curator: Debra Balken 

1992 “The Interactive Show,” selected by Harvestworks, Threadwaxing Space, New York, NY.

1992 “Ten From Queens,” Selected By Queens Museum Of Art, Painewebber Gallery, New York, NY. Curator: Louis Grauchos 

1991 “Ars Electronica 91,” Linz, Austria.

1990 “Pulse 2,”University Art Museum, Santa Barbara, CA.  Curator: Phyllis Plous 

1988 Ars Electronica 88,” Brucknerhaus, Linz, Austria. 

1988 “New Urban Landscape,” The World Financial Center, New York, NY.  Curator: Anita Contini 

1987 The Spoleto Festival USA, Gibbes Museum, Charleston, NC.  Curator: Nigel Redden 

1986 “Engaging Objects:The Art of Participatory Clocks, Mechanisms and Mirrors,” The Clocktower, The Institute for Art and Urban Resources, New York, NY.  Curator: Tom Finkelpearl. 

1985 The 1985 Biennial Exhibition,” “Whitney Windspun,” Whitney Museum of American Art, New York, NY. Curator: John Hanhardt. 

1984 Sunspots”, “Think Pocket”, IBM Japan Tokyo, Japan.  Curator: Itsuo Sakane. 

1985 Sonar Eclipse,” with the Merce Cunningham Dance Company, Park Avenue Armory, New York, NY.  Curator: John Cage. 

1982 “Soundings” Neuberger Museum, Purchase College, Purchase, NY.  Curator: Suzanne Delehanty. 

1981 New Music America 81,” San Francisco Museum of Modern Art, San Francisco, CA. 

1980 Fur Augen und Ohren,” Academie der Kunst, Berlin, Germany. Curators: Dieter Krickeberg, Siegfried Wendel, Wolf D. Kuhnelt, Juan Allende-Blin, Billy Kluver, Rene Block.

1980 “New Music America 80,” Peavy Plaza, Minneapolis, MN.  Curator: Nigel Redden. 

1980 Beyond Object,” Aspen Center for the Visual Arts, Aspen, CO.  Curator: Philip Yenawine.

1973 ”Sumtime,” with Alison Knowles and Yoshimasa Wada, Everson Museum of Art, Syracuse, NY.  Curator: James Harithas. 

1973 John Cage and Friends,” Harvard University, Cambridge, MA. Curator: Nam June Paik, Ivan Tcherepnin. 

1971 Eighth Annual New York Avant-Garde Festival,” 69th Infantry Regiment Armory, New York, NY. Curator: Charlotte Moorman.



2019      NYFA Fellowship / Music

2018      Queens Museum for Relative Fields in a Garden.” 

2015      NYSCA Individual Media for Wave Crossings”  

2015      David Bermant Foundation for Wave Crossings” 

2015     (Also: 2007, 2004, 2000, 1988, 1986, 1984) New York State Council on the Arts/Individual Artists Commissions

2012       David Bermant Foundation for Biyuu” 

2011        USA Artists Projects for Biyuu” 

2008       UCSB Interdisciplinary Humanities Fellowship 

2004      Phaedrus Foundation 

2003      Jewish Museum 

2000      Franklin Furnace 

1987      John Simon Guggenheim Fellowship 

1987, 1984      National Endowment for the Arts/ Interarts 

1985, 1983      National Endowment for the Arts/ New Genres 

1981, 1976      National Endowment for the Arts/ Composer’s Fellowship

1982, 1977      Creative Artists Public Service Fellowship/ Mixed Media 

1981      Beard Fund


Exhibitions Curated 

2019      Please Play,” Blueprint Performance, Neuberger Museum, Purchase, NY. 

2007      Three Women: Architectural Sound Events, Issue Project Room, Brooklyn, (Miya Masaoka, Liz Phillips, Maryanne Amacher.) funded by Phaedrus Foundation. 

2005      From the Perception Lab/ Sound Show”, NYSCA Grant, Pelham Art Center, Pelham, NY.  

2003      Resound,” (Purchase College Affiliates Grant), Boston Museum of Fine Arts, Boston, MA. 

2003      The Quiet Sound Show,” Richard and Dolly Maas Gallery, Purchase College, Purchase, NY. 

2004      Resound II For Dedicated Loudspeakers”, Boston Museum of Fine Arts, Boston, MA.



Ahlstrom, David. Liz Phillips: Sunspots Installation at the San Francisco Museum of Modern Art.” Computer Music Journal , Volume 6, Number 3, Fall 1982. 

Baker, Kenneth. Art for the Ears at Capp Street Project”. San Francisco Chronicle, January 1, 1988.

Balken, Debra. (exhibition catalog) Natural Spectacles, David Winton Bell Gallery, Brown University, 1996. 

Barr, Vilma. Hudson River Museum Presents The Magic of Light Exhibit” Contract Lighting, May/June, 2002. 

Brenson, Michael, Art: Engaging Objects, Audience Participation in Cultural Zoo” The New York Times May 30, 1986. 

Block, Rene. (exhibition catalog) Fur Augen und Ohren, Ademie der Kunste, 1980 

Buckley, Tom. Electrified Spaghetti on Avant Garde Fete Menu”. The New York Times, Sunday October 29, 1972. 

Claudell, Robin. Sound and light sculptureinteracts in Myers Gallery” Press Republican September 24, 1993.  

Cohen, Randy. Liz Phillips in New York City Synapse Magazine” January/February p. 14, 1977. 

Close, Roy M. Zephyr” St Paul Pioneer Press, May 28, 1984.   

Close, Roy M. Composers Work Lends New Meaning to Movement” St Paul Pioneer Press, December 13, 1982. 

Concannon, Kevin. “Sound Sculptures – A Survey of American Work.” Ars Electronica archives, 1987. 

Eppley, Charles, Windspun (1981): Liz Phillip,Sonic Public Art and the “Greening” of the South Bronx, Public Art Dialogue 11:1,48-84, DOI: 10.1080/21502552.2020.1868167.

Eppley, Charles & Asa Stjerna. Sound Sites: Experiments in Sound and Place.” Public Art Dialogue, 2019.

Delehanty, Suzanne. (exhibition catalog) Soundings. Neuberger Museum, 1981. 

Dunning, Jennifer. Critics Choice/The Arts; Environmental Festival” The New York Times, February 28, 1992. 

Fifield, George. (exhibition catalog) Liz Phillips: Echo Evolution” Act React: Interactive Art. The Milwaukee Art Museum, 2009. 

Firman, Sandra. (exhibition catalog) Liz Phillips” Beyond/In Alternating Currents Western New York 2010, The Buffalo Fine Arts Academy, 2010. 

Firman, Sandra. Have you Artparked?” Artpark 1974-1984 The Buffalo Fine Arts Academy and Princeton Architectural Press, 2010. 

Glueck, Grace. Art in Review; Liz Phillips” The New York Times March 5, 2004. 

Howard, Christopher. Queens International 2004 Queens Museum of Art”, The Brooklyn Rail, February 2005. 

Hughes, Jeffrey. Liz Phillips”. Contemporary Arts Magazine, Review 19, Vol. #63 2004, p.35-43. 

Iwasaki, Hitomi. Liz Phillips” Queens International 2004. Queens Museum of Art, 2004

Karson, Robin This Show Isnt Just For Looking” Springfield News, March 10, 1983. 

Krewani, Angela. The Innocence of Food: Female Artists in the Digital Age”, “Sex and Sexuality in a Feminist World” edited by Karen A Kitzenhoff and Katherine A. Hermes, Cambridge Scholars Publishing 2009.

Krewani, Angela. Immaterialising Sculpture-Transforming Spaces: Liz Phillips. sound sculpture”. Artefakte Artefiktionen, 2000, p. 301-311. 

Licht, Alan.” Sound Art Revisited.” Bloomsbury Press. 8-22-2019.

La Barbara, Joan. Liz: Phillips: from visual to aural” Hi Fidelity Magazine”. May, 1979.

Lovejoy, Margot. Digital Currents: art in the electronic age, Routledge, 2004. p.202. 

Mirapaul, Matthew. Art Festivals Buzz With Digital Deviltry,” New York Times, June 13,2002. 

Morrow, Charlie. Sumtime,” The Soho Weekly News, March 7, 1974 r-11. 

Oskamp, Jacqueline.”Harmless Guppies Sound Stew” Volksrant, August 1, 1998, p.9. 

Passey, Charles. Liz Phillips” The Norton/Grove dictionary of women composers edited by Julie Anne Sadie and Rhian Samuel, The Macmillan Press Limited, 1995. 

Phillips, Patricia. Liz Phillips Whiney Museum of Art”. Artforum, October 1988, p.147. 

Pollack, Barbara. Digital Media/Ambient Art” Art in America, November 2001. 

Rabinowitz, Paula. The Sounds of Sculpture / Liz Phillips: new sound works” NY Arts Magazine.” #82, 2004.

Rabinowitz, Paula. The Sound of Reformed Space, Liz Phillipss Responsive Installations”. Performance Art Journal , MIT Press, PAJ #72, 2002. 

Raynor, Vivian. Art; Technology as a Medium for Artists; Yonkers” New York Times, February 22, 1981. 

Reveaux, Tony. The Responsive Rocks”. Art Week, December 26, 1987, Volume 18 Page 5. 

Roads, Curtis. The Musicians Interface” The Computer Tutorial, Massachusetts Institute of Technology 1996, p.687. 

Roads, Curtis. Liz Phillips: Windspun”. Computer Music Journal Fall, 1981, Volume 5 Number 3. 

Rockwell, John. Avant-Garde: Liz Phillips Sound”. The New York Times, Thursday May 14, 1981. 

Russell, John. Sound in 20th Century Art” The New York Times, December 6, 1981.  

Sakane, Itsuo. The Trip Along the Borderline Between Science and Art” Asahi Shimbun March 28, 1980. 

Sanders, Linda. “ Catching the Night Plain Sonic Syzygy ” The Village Voice, Vol. XXX No.35 August 27, 1985. 

Semmerling, Linnea.” Listening on Display, Exhibiting Sounding Artworks 1960s-now.” 2020.

Singer, Mark. Talk of the Town: Output” The New Yorker, April 18, 1977. 

Smith, Roberta. Massless Medium—Explorations in Sensory Immersion” The New York Times, July 20, 2001.

Stearns, Robert. (exhibition catalog) Sound Syzygy” Walker Art Center, 1982. 

Weibel, Peter. Sound Art. Sound as a Medium,” MIT Press, 2019.

Wooster, Ann-Sargent. Art Sounds” Art in America, February, 1982. 

Zimmer, William. Liz Phillips Frontier Composting Site, Hunts Point, Bronx; permanent installation.” The Soho Weekly News, May 20,1981. 

Zummo, Peter. City Flow” Soho Weekly News, May 5, 1977.



Phillips, Liz and Rabinowitz, Paula, Wave Crossings,” Kunstmusik #18, 2019.

Phillips, Liz, Harnessing Waves and Elastic Space,” Leonardo Music Journal 2008. 

Liz Phillips and Paula Rabinowitz, On Collaborating with an Audience” AC: Collaborative Summer 2005- Spring 2006. 

Phillips, Liz, Sound Structures” Radical Software, Number 3, Spring, 1971.


Selected Internet, Radio and Television Programs 

2020 Bubble Orchestra” Virtual Dream Center in collaboration with Precog

Magazine, Heidi Howard & Liz Phillips: Relative Fields in a VR Garden.”

2019 Please Play” Neuberger Museum, a vimeo document of the performance and talk on sound art: Liz Phillips with 9 composers, by Oliver Divone and Noah Campbell.

2016 Circuit Scores: An Interview with Liz Phillips”

2013 Biyuu Excerpts video document by Mary Lucier

2011 United States Artists, Invited Artist

2010 VBS-TV Motherboard Soundbuilders, Liz Phillips.”–2

1988 PBS Art & Technology Innovations” 1981 Fuji Television Series “ Art & Technology” curator: Itsuo Sakane

1982 Soundings” Neuberger Museum, Kit Fitzgerald and John Sanborn 

1983 Sound Syzygy” Walker Art Center, James Byrne 

1974 Interview with Sound Artist Liz Phillips” University of Buffalo Radio, Terry Gross.


Professional Teaching Experience 

1998-Present Lecturer, Purchase College, School of Art & Design, “Collaborative 

Media/ Audio”, “Sound/Interactive Media I & II,” Art in the Age of Electronic Media,” and Immersive Sound Architecture.” 

2020 Mentor, Columbia University, MFA Art department/Sound Program.

2017 Visiting Professor, Wesleyan University, Music Graduate Program, Contemporary Music Seminar.” 

2016-2017 Lecturer, Columbia University, Sound Art MFA program, Critical Issues I & II.” 

2004 Master Lecturer, University of the Arts, Philadelphia, Film and Video Department, “Intermedia II” 

2001-2003 Visiting Artist, School of the Museum of Fine Arts, Boston, Sonic Arts Department. “Sound IV /Advanced Projects, ” 2 year position. 

1993-1994 Purchase College, Adjunct Lecturer, Art & Design. 

1975 Woodstock Community Video, Art & Technology,” 11 week course/NEA funded 

1973-4 Teaching Assistant, NYU, Film School, Creative Sound for Television


Selected Recent Visiting Artist /Lectures          

2019      Columbia University Sound MFA program and Visual Arts MFA program

2018      New School at Harvestworks

2016      Columbia University Sound Program MFA 

2014      Columbia University, Visual Art Program, MFA. 

2012      University of Farmington, School of the Arts 

2008      Brown University, Music Department 

2004      Pratt Institute, Art Department 

2002      MIT, Visual Arts Department 


Selected Artist Residencies (Artist-in-Residence) 

2017      Colloquium and Event, Music Graduate School, Wesleyan University, Middletown, CT.               

2009      Penn State University, John M Anderson Lecture Series, Art, State College, 

2008      UC Davis, Art Department, Davis, CA.                                                                                  

2008      Interdisciplinary Humanities Center, UCSB, Santa Barbara, CA.                                                 

2007      University of Wisconsin, Milwaukee, Film Conceptual Studies, Madison, WI.                                                                            

1988      Kala Institute, Berkeley, CA.                                                                                                  

1987       Capp Street Project. San Francisco, CA.                                                                        

1986       Lynn Community College, Lynn, MA.                                                                                                

1982      Minneapolis College of Art and Design, Minneapolis, MN.                                                                                         

1981       Jacobs Pillow, Becket, MA. 

1975      Broward Community College, Music Department, Fort Lauderdale, FL. 

1973      State University of New York at Albany, Albany, NY. 

1972      California Institute of the Arts, Valencia, CA.  

1971      Riverside Research Institute, New York, NY.  

1971      California Institute of the Arts, Valencia, CA. 


Selected Conferences 

2017      Re-embodied Sound Symposium, opening speaker/event, Columbia University, New York, NY. 

2017      Remembering Pauline Oliveros,” Applebox Orchestra, Park Avenue Armory and Tribute to Pauline Oliveros,” Fridman Gallery, New York, NY.  

2016      Circuit Scores: Electronics after David Tudor,” School for Poetic Computation, New York, NY. 

2011      NYU Visible Evidence 18” Paper: Here/Hear: Manhattan is an Island,” presentation, New York, NY. 

2011      University of Buffalo, ArtPark, panelist. (with Glen Phillips and Richard Tuttle), Buffalo, NY. 

2005      Symposium on Sound Art” University of the Arts, panelist, Philadelphia, PA.       

2001      Boston Museum of Fine Arts Dangerous Waves,” panelist. (Anney Bonney, Thurston Moore, Elliott Sharp, Zeena Parkins), Boston, MA. 


Other Lectures, Panels and Exhibitions 

Academie der Kunste 

Ars Electronica 

Art Park 

Boston Museum of Fine Arts 

Brown University 

Broward Community College 

California Institute of the Arts 

Capp Street Project

Cleveland Orchestra 

Columbia University 

Cooper Union Harvard University 

Jacobs Pillow

Minneapolis College of Art and Design Milwaukee Art Museum MIT Visual Arts Program Pratt Institute PS1 Institute for Art and Urban Resources 

Riverside Research Institute 

San Diego State University State 

University of New York at Albany State University of New York at Plattsburgh 

Mills College, New York University 

University of Maryland Baltimore Campus University of California at Santa Barbara Stedelijk Museum 

Tyler School of Art 

University of Cincinnati

Whitney Museum of American Art


Professional Services 

Expert Witness in New York State Court on Sound Art 

New York State Council on the Arts, Media Program; Panelist and organization reviewer Jerome Foundation, Sound Art Program panelist

Massachusetts Council on the Arts, Media program panelist 

Artists Space Jury