Abstract Ari Benjamin Meyers's Kunsthalle for Music is simultaneously an institution, an exhibition, a concert, a music collection, a process, and an ensemble. In this essay, I take readers on a tour of the show's first presentation, followed by reflections on questions that it posed. In particular, the project troubles the issue of art's mediums, their relation to art as a singular concept and its institutional form(s), and art's mode of cultural transmission through time. The philosopher Peter Osborne, who has written on and presented at the Kunsthalle, provides my theoretical foil alongside Theodor Adorno and Rosalind Krauss. I add musings by Jean-Luc Nancy to consider how the project exhibits liveness and its musical significance. Mediums of art are neither essences nor concepts for deconstruction, I conclude; rather, they insist and persist as modalities of action.