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This positive review of David Tudor’s avant-garde piano recital at Carl Fischer Hall claims that the “hep” 1954 New York audience was highly supportive, and the techniques involved unusual modes of playing the piano. At least one heckler audibly wished for the actual destruction of a piano, an action that would anticipate the destructive play of Fluxus affiliate Philip Corner’s Piano Activities (1962). In an echo of 4′33″ (1952), the reviewer also notes the abundant use of silence in the compositions Tudor performed, remarking that during these extended periods “one can almost hear the air molecules rushing past one’s ear.”