Some of the most important visual artist working today are sound artists.

It seems that sound in general has been growing in importance at the museum recently. Exhibitions come with soundtracks, sculptures make noise, and musical performance of one kind of another is everywhere in and around the art.

Ben Davis wanted to dig into this “sonic turn” in art, if that’s what it is—and the artist Tarek Atoui is a great person to talk to. Born in Lebanon and based in Paris, Atoui’s work often takes the form of environments, with sculptures that double as experimental musical instruments, to be activated by the audience or performers.

This form of art is both unique and clearly resonates with a bigger trend of using sound to activate the museum as an event space and a space of gathering. At the current Venice Biennale, Atoui is part of the Qatar Pavilion for a project called “Untitled 2026 (A Gathering Of Remarkable People),” working with a super-group of famous figures from the worlds of art, music, and food to make an environment that evolves for the course of the Biennale.

And later this year, Atoui will be the next artist to do the giant Turbine Hall commission for the Tate Modern in London, occupying one of the most highly watched pieces of exhibition space in the international art world.

Where does this genre of hybrid art come from? Where is it going? What are its challenges?