“Susan Philipsz treats audio as a sculptural object, using historically-resonant sources—like an orchestral work by a composer who was interned in a German concentration camp in the 1940s—to create unexpectedly haunting and lyrical installations. Philipsz develops a series of projects across Germany and Austria, including the rehearsal of World War II–damaged instruments in a small German town and a new work connecting one of Vienna’s best-known public squares to its fascist past.”