Movie characters pondering momentous decisions are sometimes subjected to a raging debate between an imaginary angel on one shoulder and an imaginary devil on the other. Think of Larry "Pinto" Kroger deciding whether to take advantage of his passed-out-drunk date during the infamous Animal House toga party.

Audiophiles, too, are often pulled in opposite directions. But instead of angel's wings or devil's horns, our imaginary duelists are decked out in T-shirts, one with a logo that says "digital," the other with a logo that says "analog." Or tubes and transistors. Or that old favorite, Everything Matters vs Expensive Cables are Snake Oil.

I won't presume to adjudicate these perpetual rhubarbs, but I will confess to facing a battle of my own, waged between the Head and the Heart.

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Mostly I like spending time looking at art, especially in the early mornings when the galleries are empty. Lately, I've been watching art handlers hanging a roughly 100'-long tapestry depicting some manner of planetary jetsam—or maybe they are aquatic plants—by Nigerian artist Otobong Nkanga. And I make regular trips to a small theater to watch mesmerizing footage of Orchard Street in working-class lower Manhattan, shot in 1955 by veteran filmmaker Ken Jacobs. Captured on warm, saturated 16mm film, the long-gone people on the screen appear as vividly alive as the museumgoers around me.

My favorite-ever thing at the museum, though, is a life-sized kitchen. Austrian architect Grete Lihotzky designed it for a Frankfurt housing complex in 1927.