It is this subtlety that created the most difficulty for visitors experiencing 5 Graves. The work’s strongest advocates were those who were well versed in sound art and also aware of Lucier’s impact on the field. For those who understood the physics behind the “spinning,” who appreciated the impression of movement that was produced by the interaction of the waves with the location, the work was a wonder. It was a demonstration of an effect.4 For others, it took proper preparation even to hear the work. One of the most successful programs involving 5 Graves was a collaboration with Dartmouth’s Mindfulness Practice Group. Roughly a dozen people met in the space during a beautiful fall day to move or sit mindfully with the piece. Afterward they shared a range of nuanced responses. Frequently, during tours of the exhibition participants would ask what they should be hearing. Is this the work? Does it sound like this this? Lucier’s 5 Graves to Cairo was the work that received the most inquiries as to whether it was on. (It ran 24/7 and had only a few technical difficulties, but was never completely off.) By far the most abstract work, both in that it was pure sound, and in the type of sound that it used, Lucier’s piece required the most from the listener: sustained attention as well as an interest in sound art itself (fig. 4).