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Bauhaus chair as more to be cherished than its later mass-produced progeny even though it was designed precisely for industrial replication. There is likely music available on old albums that is not yet on the Internet, making of the LP an antique, unique, despite its one-time mechanical reproduction. Borrman's exhibition, entitled "The Choice We Face", reminded me, too, of an essay by Theodor Adorno which has always fascinated me--without, necessarily, my fully understanding it--"The Form of the Phonograph Record", in which Adorno, in one of the clearest yet most mysterious descriptive passages I have ever read regards, not simply the sounds an LP transmits, but its physical form: "One does not want to accord it any form other than the one it itself exhibits: a black pane made of a composite mass…fragile like tablets, with a circular label in the middle that still looks most authentic when adorned with the prewar terrier hearkening to his master's voice; at the very center a little hole that is at times so narrow that one has to redrill it wider so that the record can be laid on the platter. It is covered with curves, a delicately scribbled, utterly illegible writing, which here and there form more plastic figures for reasons that remain obscure to the layman upon listening…" As if refuting Adorno's argument that vinyl recordings are not "real" music but technical devices which have failed to give birth to any new art form (unlike the camera, for example) Borrman says, "To me the art in music isn't just found in the notes on the pages, it's in the experience of listening. The reality is that most music gets experienced through recordings, but music has become so easily consumable that we've lost sight of the care that goes into bringing those recordings to life." Bormann HYLAND