If the theaters of my past chapters have ranged from the performative pages of Antonin Artaud's distressed sites of writing (as well the colorful markings of my own), to the art installations of Ann Hamilton and James Turrell, and finally even to John Cage's time within an anechoic chamber, my final chapter will present yet another unconventional space of theater: the concert hall of a Morton Feldman string quartet and piano recital. Feldman figured quite prominently in my previous chapter, as he was spoken of in direct relation to his friend and mentor Cage. Between the two composers, though, important distinctions emerged about their quite different expectations of musical performance, the staging of silence and sound.