In my attempts to try and exhibit my artwork outside the neutral environment of the white cube I have come to learn a lot of crucial factors about exhibiting aural artwork and how it is perceived and at times goes unnoticed. Sound functions via listening and this is a very obvious but easily overheard fact. One of my artworks, as part of a workshop with the Junction University, was an attempt to de-stabilize the historicity of the museum by means of creating interventions and activating things that would seem secondary or insignificant. The gesture was performed at the Fitzwilliam Museum, Cambridge and involved recording the prevalent ambient sounds in the museum and replaying them back into the space of recording. It relied on subliminal additions to the fabric of urban life with a view to suggest evocative listening through accidental encounter. Engaging with the work evoked the notion of aural awareness through the public reaction, to the significance of the ear as annotated in a wide range of visual media. To engage with the work is also to reflect on ones identity as a listener and to reconsider the function of the ear in everyday life. It invited the people to an informal engagement with artwork that most members are unfamiliar with, in contrast to the suggestive space of the art gallery as a space for contextual listening. The installation produced a situation in which spatiality was articulated through the temporal movement of sound and temporality realized through spatial notions. The work was a critique on the predominantly visual methods of cataloguing and display of historicity in the museum. Visual spaces can be expanded, invented and denied through the experience of sound. Sound re-invests meaning and functions of spaces. Using sound to resonate space enters into conversation with the architectural parameters, their visual identification and everyday use, extolling their histories and expanding their present functions. These ideas echo with Gaston Bachelard’s ‘Poetics of Space’ (1964). Sound produces a new visualization of space, renders it immersive and inhabitable; it connects space and brings to perception invisible links and ideologies of separation. Using sound is a potent way of interfering with the everyday, its invisible routines and repetitive trajectories, making them available for sensory contemplation.