"explained away" is organized circularly around the entire upper floor of the museum, creating the effect of being in the middle of an accelerated loop of relationships between sounds, gestures, and images becoming texts (and vice versa). Four site-specific installations and two video rooms, flanked acutely by artworks from the collection delineate an idea of symmetry in the space.

Tibetan singing bowls, gong baths, sheets of shimmering synths, strummed harps, lapping waves, and flutes whose sounds used to resonate, furtively, in “spas, wellness centers, yoga studios, and hippie bookstores” alone: for some time now, it has actually once again been okay to listen to these sonic hallmarks of New Age music—in fact, it has become inexplicably cool to flaunt your Deuter records and Iasos tapes of late. It wasn’t always thus. In this wide-ranging consideration of the critical revival of the long maligned and ridiculed New Age phenomenon, Crystal Vibrations aficionado Dieter Roelstraete asks why the same hasn’t happened to New Age music’s visual pendant—the aesthetic scourge of Visionary art. Might its time have come, at long last? Let’s see, and start by looking.