In April of last year we—Alana Friend Lettner and M. Leander Kalil—encountered Maggy Hamel-Metsos’ installation Simile Aria at Fonderie Darling in Tiohtià:ke (Montreal). We knew very little about Hamel-Metsos; we did not yet know of her predilection for conceptual interrogations via sculptural means, nor of her various obsessions with opera divas, the Ukrainian-born Brazilian novelist Clarice Lispector, and bullfights. We knew only that she had a residency at Fonderie Darling, that she had exhibited internationally, and that we had to see Simile Aria before it was taken down, according to urgent encouragements from several of our friends. Simile Aria featured a single repurposed church organ suspended from the ceiling of the immense room in seven isolated clusters, each of which was attached to an air compressor set on a timer. One by one, and over the course of nearly an hour, the clusters sang their disparate and highly dissonant chords. After bursting forth, each chord was surrounded by a silence that was so generous, so palpable as to seem as much a material component of the installation—as much as the organ pipes themselves.