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Devoted to the work of Max Neuhaus (1939-2009), Max Feed. Œuvre et héritage de Max Neuhaus at Frac Franche-Comté, Besançon, the first retrospective since the death of this major figure, brought together an important documentation as well as the only non-site specific of his sound works. As a way of looking for Max and make his thinking resonates, works from today’s artists have been cautiously selected by the curator Daniele Balit, working for years on Neuhaus work and preparing (together with Mathieu Saladin) an edition of collected writings and interviews*. The work of Max Neuhaus largely deserves a new examination, not only for its intrinsic quality, but also as a way to measure some changes in the appreciation of sounds in the art world (from field recordings to narrative sound editing, to music as a topic). Sound artists, one they accept such a name or label, usually find a legitimacy through their previous or parallel activity in the music scene. Any sound recorded by a famous artist receives more recognition than an ambitious sound installation from a historical figure. We, the public of art, have usually not so much time to listen carefully and what is usually...