Georgina Starr’s installations situate viewers in intimate liminal encounters that interrogate the cultural politics of listening to pose innovative esoteric and affective relationships. Her audio artworks compellingly investigate the vinyl LP format as an artistic medium. London-based and affiliated with the second wave of Young British Artists (aka YBAs), she has, over the last 20 years, explored invisible, lost or fragile phenomena (Sorrell-Hayashi 2008). As a collector of found sounds in the ethnographic sense, her oeuvre has deployed field recordings of normally neglected speech assembled from unusual contexts. Likewise, Starr’s work explores making personal acts public, often those that involve relational interactions (Reitmeier 1996, p. 15), such as taping private conversations the artist overheard in a mall. Her work has also probed the affordances of media of communication such as the telephone or television to operate as portals between material and immaterial worlds, as well the phenomena of “hearing voices.”