When Steve Reich was one of the New York composers establishing the language of musical minimalism in the late 1960s, Dan Flavin was making his name in the city's visual arts scene. At that time too, the minimalist movement united composers, painters and sculptors. Many of the early pieces by Reich, Philip Glass and LaMonte Young were first heard in the same gallery spaces that showed the work of Donald Judd and Sol Lewitt, as well as Flavin's extraordinary fluorescent-light pieces. Even when Reich's music reached London it was first performed at the ICA and in the middle of a Hayward exhibition of Mark Rothko.

Nowadays there are few concerts in art galleries but this short programme of early pieces by Reich, performed by members of the London Sinfonietta in the rooms of the Hayward Gallery's Flavin exhibition, was a reminder of how fruitful it can be to make connections across art forms. In his pieces of the late 1960s and early 1970s Reich pared his material down, just as Flavin used mass-produced coloured tubes as his starting point.

The centrepiece of the programme was Reich's 1966 tape piece Come Out, which takes a phrase from a recording of a black youth describing his beating at the hands of the New York police, multilayers it and moves the layers steadily out of phase until the words become a textural continuum. Violin Phase, written the following year, does the same thing with a musical pattern and sets a live solo violinist (David Alberman here) against an increasing number of recorded images of himself. Both pieces still sound astonishingly original, while Six Marimbas, a reworking of 1973's Six Pianos, is one of the classics of minimalism. It was a reminder of what a rigorous, and genuinely radical aesthetic Reich established in those days, and how he has remained true to its principles.