Sixties Surreal at Whitney Museum of American Art, September 24, 2025–January 19, 2026 

“This fall, the Whitney Museum of American Art presents Sixties Surreal, a sweeping, ambitious, revisionist look at American art from 1958 to 1972 through the lens of the ‘surreal,’ both inherited and reinvented. Opening on September 24, the exhibition features the work of 111 artists who embraced the psychosexual, fantastical, and revolutionary energy of an era shaped by civil unrest, cultural upheaval, and boundless experimentation. 

Rather than adhering to familiar movements of the 1960s like Pop Art, Conceptualism, or Minimalism, Sixties Surreal uncovers alternate histories and recontextualizes some of the decade’s best-known figures alongside those only recently rediscovered. The exhibition considers how artists turned to Surrealism, not as a European import, but as a way to navigate the strange, turbulent realities of American life. Featuring iconic works by Diane Arbus, Yayoi Kusama, Romare Bearden, Judy Chicago, Nancy Grossman, Christina Ramberg, David Hammons, Louise Bourgeois, Jasper Johns, Fritz Scholder, Peter Saul, Marisol, Robert Crumb, Faith Ringgold, H.C. Westermann, Jack Whitten, and many others, the exhibition brings new visibility to a generation of artists who challenged mainstream narratives in pursuit of radical freedom.” — Whitney Museum of American Art

Installation view of Sixties Surreal (Whitney Museum of American Art, New York, September 24, 2025–Jan 19, 2026). From left to right: Miyoko Ito, Untitled, 1970; Jeremy Anderson, Riverrun, 1965; Hannah Wilke, Teasel Cushion, 1967; Deborah Remington, Haddonfield, 1965; Yayoi Kusama, Accumulation, c. 1963; Louise Bourgeois, Fée Couturière, 1963; Judy Chicago, In My Mother’s House, c. 1962-64; Franklin Williams, Untitled, 1967; Eva Hesse, C-Clamp Blues, 1965. Photograph by Quadir Moore/BFA.com. © BFA 2025
Installation view of Sixties Surreal (Whitney Museum of American Art, New York, September 24, 2025–Jan 19, 2026). From left to right: Robert Crumb, Head #1, 1967; Robert Crumb, Burned Out, cover for The East Village Other 5, no. 10, 1970; Mike Henderson, Dufus, 1970; Ming Smith, Kites Inside, Columbus, Ohio, c. 1972; Shawn Walker, Man with Bubble, Central Park (near Bandshell), c. 1960–79; Romare Bearden, Pittsburg Memory 2/6, 1964; Diane Arbus, Five members of the Monster Fan Club, N.Y.C. 1961, 1961; Adger Cowans, Shadows, 1966; Paul Thek, Untitled (from the series Television Analyzations), 1963. Photograph by Quadir Moore/BFA.com. © BFA 2025
Installation view of Sixties Surreal (Whitney Museum of American Art, New York, September 24, 2025–Jan 19, 2026). From left to right: Raymond Saunders, Untitled, 1968; H.C. Westermann, The Plush, 1963-64; William T. Wiley, Shark’s Dream, 1967; David Hammons, Untitled, 1969; Bruce Nauman, Mold for a Modernized Slant Step, 1966; Franklin Williams, Untitled III, 1966; Barbara Chase-Riboud, Confessions for Myself, 1972; Jeremy Anderson, Riverrun, 1965; Hannah Wilke, Teasel Cushion, 1967; Yayoi Kusama, Accumulation, c. 1963; Louise Bourgeois, Fée Couturière, 1963; Deborah Remington, Haddonfield, 1965; Judy Chicago, In My Mother’s House, c. 1962-64; Deborah Remington, Haddonfield, 1965; Franklin Williams, Untitled, 1967; Eva Hesse, C-Clamp Blues, 1965; Lee Bontecou, Untitled, 1961, 1961. Photograph by Quadir Moore/BFA.com. © BFA 2025
Installation view of Sixties Surreal (Whitney Museum of American Art, New York, September 24, 2025–Jan 19, 2026). From left to right: Peter Saul, Saigon, 1967; Daniel LaRue Johnson, Freedom Now, Number 1, August 13, 1963 – January 14, 1964, 1964; Benny Andrews, No More Games, 1970; Timothy Washington, TK (Viet Nam), 1970; Jasper Johns, Flags, 1965; Harold Stevenson, The New Adam, 1962; Ralph Arnold, Collage, 1968; Mel Casas, Humanscape #56 (San Antonio Circus), 1969; T.C. Cannon, Andrew Myrick – Let Em Eat Grass, 1970; Luis Jimenez, Man on Fire, 1969; Fritz Scholder, Indian and Rhinoceros, 1968; Judith Bernstein, Vietnam Garden, 1967; Barbara Jones-Hogu, Mother of Man, 1968. Photograph by Quadir Moore/BFA.com. © BFA 2025
Installation view of Sixties Surreal (Whitney Museum of American Art, New York, September 24, 2025–Jan 19, 2026). From left to right: Diane Arbus, Bela Lugosi as Dracula on Television, 1958; Shawn Walker, Tiffany’s Window on 57th Street, NYC, c. 1968–72; Diane Arbus, Clouds on screen at a drive-in movie, N.J., 1961; Luis Jimenez, Blonde TV Image, 1967; Lee Friedlander, Nashville, 1963; Lee Friedlander, Galax, Virginia, 1962; Lee Friedlander, Florida, 1963; Carlos Villa, My Roots, 1970-71; Edward Owens, Private Imaginings and Narrative Facts, 1966. Photograph by Quadir Moore/BFA.com. © BFA 2025
Installation view of Sixties Surreal (Whitney Museum of American Art, New York, September 24, 2025–Jan 19, 2026). From left to right: H.C. Westermann, Memorial to the Idea of Man If He Was an Idea, 1958; Rupert Garcia, Unfinished Man, 1968; Luis Jimenez, Man on Fire, 1969; Ralph Arnold, Unfinished Collage, 1968; Daniel LaRue Johnson, Freedom Now, Number 1, August 13, 1963 – January 14, 1964, 1964; Benny Andrews, No More Games, 1970; Timothy Washington, TK (Viet Nam), 1970. Photograph by Quadir Moore/BFA.com. © BFA 2025
Installation view of Sixties Surreal (Whitney Museum of American Art, New York, September 24, 2025–Jan 19, 2026). From left to right: Carolee Schneemann, Body Collage, 1967; Joan Semmel, Untitled, 1971; Niki De Saint Phalle, Vivian, 1965; Christina Ramberg, Shadow Panel, 1972; Martha Edelheit, Flesh Wall with Table, 1965. Photograph by Quadir Moore/BFA.com. © BFA 2025
Installation view of Sixties Surreal (Whitney Museum of American Art, New York, September 24, 2025–Jan 19, 2026). From left to right: Lynn Hershman Leeson, Giggling Machine, Self Portrait as Blonde, 1968; Christina Ramberg, Shadow Panel, 1972; Nancy Graves, Camel VI, Camel VII and Camel VIII, 1968–1969; Marisol, Women and Dog, 1963-64; Luchita Hurtado, Untitled, 1971. Photograph by Quadir Moore/BFA.com. © BFA 2025
Installation view of Sixties Surreal (Whitney Museum of American Art, New York, September 24, 2025–Jan 19, 2026). From left to right: Shigeko Kubota, Self-Portrait, c. 1970–71.; Jae Jarrell, Ebony Family, ca. 1968; Linda Lomahaftewa, Untitled Woman’s Faces, 1960s; Kiki Kogelnik, Gee Baby – I’m Sorry, 1965. Photograph by Quadir Moore/BFA.com. © BFA 2025
Installation view of Sixties Surreal (Whitney Museum of American Art, New York, September 24, 2025–Jan 19, 2026). From left to right: Robert Smithson, Green Chimera with Stigmata, 1961; Ching Ho Cheng, Sun Drawing, 1967; Barbara Rossi, Male of Sorrows #5, 1970; Wally Hedrick, HERMETIC IMAGE, 1961; Betye Saar, Ten Mojo Secrets, 1972; Eduardo Carrillo, Testament of the Holy Spirit, 1971; Jack Whitten, Christ, 1964. Photograph by Quadir Moore/BFA.com. © BFA 2025
Installation view of Sixties Surreal (Whitney Museum of American Art, New York, September 24, 2025–Jan 19, 2026). From left to right: Carlos Villa, My Roots, 1970-71; Nancy Grossman, Head 1968, 1968; Anita Steckel, The Big Rip-Up, 1964; Suellen Rocca, Foot Smells, c. 1966; Suzanne Jackson, We Were Waiting, n.d.; Barbara Hammer, Tee Corinne Sleeping, 1972; Barbara Hammer, Tee Corinne Sleeping, 1972; Lynn Hershman Leeson, Giggling Machine, Self Portrait as Blonde, 1968; Jay DeFeo, The Eyes, 1958; Robert Smithson, Green Chimera with Stigmata, 1961; Ching Ho Cheng, Sun Drawing, 1967; Barbara Rossi, Male of Sorrows #5, 1970. Photograph by Quadir Moore/BFA.com. © BFA 2025
Installation view of Sixties Surreal (Whitney Museum of American Art, New York, September 24, 2025–Jan 19, 2026). From left to right: Nancy Graves, Camel VI, Camel VII and Camel VIII, 1968–1969; Jean Conner, Are You a Springmaid? II, 1960; Jean Conner, Are You a Springmaid?, 1960; Paul Thek, Untitled from the series Technological Reliquaries, 1966; Jim Nutt, Running Wild, 1969-1970; Claes Oldenburg, Soft Toilet, 1966; Lee Lozano, No Title, 1964. Photograph by Quadir Moore/BFA.com © BFA 2025

“Sixties Surreal has been nearly three decades in the making, dating to my time as a Whitney intern and subsequent college thesis. Through intense collaboration with curatorial colleagues Dan Nadel, Laura Phipps, and Elisabeth Sussman, the project has grown into a sweeping reexamination of a turbulent and transformative chapter in American life and art,” said Scott Rothkopf, the Alice Pratt Brown Director of the Whitney. “Sixties Surreal reveals how artists across the country embraced and reinvented surreal tendencies to challenge conventions and mirror the strangeness of a time marked by radical political, social, and cultural change. By bringing their visionary contributions into fuller view, this exhibition helps to reshape how we understand the art and spirit of the 1960s, as well as our own roiling moment.” 

Sixties Surreal is organized by Dan Nadel, Steven and Ann Ames Curator of Drawings and Prints; Laura Phipps, Associate Curator; Scott Rothkopf, Alice Pratt Brown Director; and Elisabeth Sussman, Curator; with Kelly Long, Senior Curatorial Assistant, and Rowan Diaz-Toth, Curatorial Project Assistant, at the Whitney Museum of American Art.

Title image: Linda Lomahaftewa, Untitled Woman’s Faces, 1960s. Oil on canvas, 36 × 48 in. (91.4 × 121.9 cm). Heard Museum, Phoenix; Gift of the artist. © Linda Lomahaftewa.

Images courtesy Whitney Museum of American Art.