A rare printed score on parchment paper, approximately A3 size. Originally folded and sent as an invitation card to an exhibition, this work embodies Suzuki's philosophy of listening, chance, and the spatial dimensions of sound. Akio Suzuki (*1941 Pyongyang) is known as a pioneer of sound art, but the breadth of his activities and the form of his works far exceeds the normal boundaries of sound art. It is perhaps more as a "quester after sound and space" that he has received the most attention from artists in many fields. Suzuki's journey as an artist began in 1963 with a performance at Nagoya station in Japan, in which he threw a bucket full of junk down a staircase—a playful yet profound desire to not only hear, but truly listen. During the 1970s, Suzuki invented the Analapos, an echo instrument whose structure resembles two mirrors facing each other, reflecting into infinity. In 1988, he constructed the Hinatabokko No Kukan (Space In The Sun), consisting of two huge parallel walls in between which the artist can sit and purify his hearing by listening to the reflected sounds of nature. From the late 1970s through the 1980s, Suzuki developed a form of performance he refers to as Conceptual Soundwork, applying simple and austere rules in a mode of "intellectual play." His performances at Festival d'Automne (Paris, 1978) and Documenta 8 (Kassel, 1987) were rapturously received. Music on Paper by Chance represents Suzuki's investigation of graphic notation, chance operations, and the visual dimensions of sound. As both invitation and score, the work questions the very location of music and asks the viewer to reconstruct past experiences and memories as new listening experiences. For collectors of sound art documentation, graphic notation, and those who recognize Suzuki as a pivotal figure in experimental sound practice, this is an essential and rare work.