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ne of my earliest memories is, as a child of about four, visiting my father's recording studio on Vine Street in Hollywood and witnessing the manufacture of a phonograph record, a strange process which seemed to involve the compression of a wet black mass of plastic fibers. At the Klemens Gasser/Tanja Grunert Gallery at 33 Orchard Street I was reminded of this experience, for the artist, Keil Borrman, exhibited not only his paintings, graffiti-impastoed abstractions, but a 21st century ensemble of sound, including a turntable from VPI Industries, maker of the award-winning and best-selling TNT, HRX and Classic turntables. The phonograph record, in the age of iTunes, has gained a kind of glamor and authority as a purveyor of sound we perceive as more "real" than what we download, rather the way we might regard an original tubular steel Keil Borrman ODS HYLAND O