In this paper, noting that many practitioners of electroacoustic music today have no difficulty in exploring other art forms, the author seeks to demonstrate that music and installation art have more to offer each other than shared technology. In particular, he discusses techniques that appear in installation art but which have possible origins in - and connections with - music. For example, the use of space as a principal formal determinant in installation art has obvious precedents in electroacoustic composition as does the use of real-world sounds for their symbolic and cultural meanings.