In Jennie C. Jones's new Acoustic Panel Paintings, she continues to explore the perception of sound within the visual arts while experimenting with a new material, architectural felt. Like the noise-absorbing foam panels of her earlier paintings, this substrate also has sound dampening properties. Composed of layered felt panels, Deep, Gradient, Graphite (2021) subverts the flat formalism of Minimalist painting. Transforming this reductive geometry into something far more expansive and immersive, the work physically and aurally extends outwards to actively engage viewers. Encouraging viewers to anticipate the presence of sound, Jones states that this and other similar paintings are always “active.” As she explains, “I always say they’re active even when there’s no sound in the room; they are affecting the subtlest of sounds in the space—dampening and absorbing even the human voice.” Seamlessly integrating visual practices with auditory ones, this work underscores the connection between Minimalism and music, recovering the legacy of the Black avant-garde.