The track titles-“Clouds,” “Blink,” “Dream”-read like a list of the motifs and compositional approaches that would preoccupy Yoshimura for the rest of his life. Made in a home studio on a Fender Rhodes electric piano, this collection of glistening vignettes is one of my favorite albums, nine sketches of a museum informed not by its artworks but by glimpses through its windows. They agreed, and so Yoshimura’s first album-titled Music for Nine Post Cards-also became his first public commission. Struck by how this curving Art Deco building framed a series of views onto tree-lined gardens, he approached a curator about the possibility of playing his record in the galleries. While the artist and pioneering ambient composer Hiroshi Yoshimura was recording his debut album, in 1982, he visited the Hara Museum of Contemporary Art in Tokyo, which had opened a few years before. Social life makes a marginal appearance in two pictures of visitors absorbed in their own thoughts. Elsewhere, a woman, his partner perhaps, files an infant’s fingernails, but only their hands are visible. The shadow above the building blocks may be the artist in silhouette. In their reticence, these glimpses into the day-to-day life of a household leave viewers to establish what narrative and thematic continuities they can. The remains of a snack sit on a carpet, multicolored building blocks are balanced on the rim of a drawer, snapshots of relatives are tucked in the gilt frame of an old print. Often untitled yet all dated 2023, they are populated by toys and crockery, computer screens, flowers, and mementos. Arranged in a spare hang across the gallery’s two small-ish spaces, these are reserved images in which rooms feature more prominently than the family inhabiting them. In particular, they outline the rhythms of the home: most of them show the artist’s apartment, where, it would seem, time passes slowly. The photographs in the first UK show of the Essen-based artist Niklas Taleb describe intervals and cadences rather than people or events.

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