These six prints come from a larger series of twenty-eight prints. The trajectory across the images in this installation is linear, unfolding in time as in a musical composition, but can also be shown intertwined in a more complex counterpoint arrangement with vertically formatted drawings from the same series. Libeskind, a virtuoso accordion player in his
youth, called these "my first rigorous attempts to connect music and architecture. . . . Architecture is based on drawings. A drawing is a scoreit’s a code, a language that has to be communicated to performers who then have a certain amount of leeway in interpreting that."
Gallery label from Making Music Modern: Design for Ear and Eye, November 15, 2014–January 17, 2016.