The paper considers the nexus of sound art theory and ambiance or atmosphere studies. It seeks to articulate how concepts of ambiance support the critical aesthetics of sound art, especially participatory works in urban space, as well as how this field may in turn be productive for addressing future ambiances. Focussing on the reception of specific sound art works in urban space that activate listening – Akio Suzuki’s Oto-date (2014), O+A’s urban space – urban sound (2013) and Katrinem’s SchuhzuGehör (2015) – the paper will frame their aesthetics through notions of atmosphere (G. Böhme)/ambiance (JP Thibaud) with reference to their conditioning of particular sonic effects (F. Augoyard and H. Torgue), and framing of listening practices.