This paper develops “screened listening” as an ethnomusicological analytic for understanding how installation art structures how people hear and move within exhibitions. Building on Blesser and Salter’s concept of aural architecture (2009), I argue that the screen in installation environments functions as an acoustic boundary that organizes movement, access, and authority in space. Focusing on works by three Asian diasporic artists, I ask how feedback systems, caption infrastructures, and museum acoustics compose perspective for differently positioned listeners. In Nam June Paik’s TV Buddha (1974), the camera–monitor loop encloses visitors within a tightly regulated “now,” converting gallery noise and electronic hum into an intensified mode of listening. In Christine Sun Kim’s Close Readings (2020), which I encountered at the Whitney Museum, Deaf-authored captions overwrite studio subtitling norms, redistributing sonic authorship across competing textual soundtracks. Wu Tsang’s Anthem (2021), experienced through participant observation at the Guggenheim, suspends Beverly Glenn-Copeland’s voice in the museum’s spiraling rotunda, where circulation along the ramp continually recomposes the mix. Drawing on fieldwork and interviews, I show how visitors describe these installations less through musical style than through shifting sensations of proximity, legibility, and collective presence. By bringing ethnographic method into dialogue with sound studies, Deaf and disability scholarship, and media-infrastructural approaches, the project reframes installation art as a site of infrastructural listening. It advances new directions for ethnomusicology in museums and galleries, foregrounding how exhibition technologies calibrate intimacy, access, and diasporic collectivity in contemporary public culture.