“‘White Rabbit?’ That’s such an obvious Jefferson Airplane choice! I could have gone for ‘Two Heads.’” This was my immediate reaction when I first reviewed the playlist for the upcoming exhibition Sixties Surreal at the Whitney Museum of American Art.
If you are unfamiliar with exhibition playlists, think of them as modern mixtapes: meticulously curated collections that echo a specific mood and era. I’m convinced that every curator who has created such a playlist reminisced about their teen years spent sifting through vinyl records and crafting mixtapes.
The Sixties Surreal exhibition, which opens its doors to the public on September 24, reflects a transformative period from 1958 to 1972—a time where music was deeply interwoven with historical events. Whether you experienced it firsthand or not, it’s challenging to envision the 1960s without its soundtrack. Central to the exhibition is a thought-provoking question: what if Surrealism, instead of Cubism, had driven the evolution of postwar American art? This inquiry leads us into a realm of artistry where the psyche, emotions, and the unconscious mind take precedence over mere form. Even as the Pop Art of the era often emphasized surface aesthetics, much of the music from that time tapped into the depths of the human experience.
The playlist accompanying the exhibition features a diverse mix of genres including pop, psychedelia, R&B, and rock—boasting iconic artists such as The Beatles, Jimi Hendrix, Isaac Hayes, and The Rolling Stones. There are also avant-garde contributors like Steve Reich, Sun Ra, and Frank Zappa, alongside impressive selections from the jazz domain, featuring legends like Thelonious Monk, Nina Simone, and Charles Mingus. You can explore this curated playlist on Spotify. Please note that these tracks will not be playing in the exhibition space; be ready to bring your phone and headphones if you wish to enjoy the music while exploring.
Co-organizer of the exhibition and Whitney Curator of Drawings and Prints, Dan Nadel, collaborated with Associate Curator Laura Phipps to craft the playlist. He sat down with Hyperallergic to discuss the inspiration behind the playlist and the creative process involved. While there may always be an armchair critic with differing views, that engagement adds to the excitement of creating your own musical compilations. At the end of this article, I will also share some of my personal ’60s favorites.
Hyperallergic: Many readers may be new to the term ‘exhibition playlist.’ Can you elaborate on what a playlist entails and why it’s incorporated into an exhibition?
Dan Nadel: A playlist can serve various purposes: it acts as a soundtrack while viewing, a complementary exhibition experience, a creative prompt for reflecting on the show’s themes, or simply a playlist for a dance party. Practically, it adds another dimension to the exhibition experience, much like a catalog.
H: Why was a playlist deemed appropriate for this particular exhibition?
DN: The inclusion of music has been debated throughout the planning stages. We sought a harmonious balance between the various artists and the wider cultural influences surrounding them: film, poetry, and of course, music. The playlist cultivated a broader sense of what the soundscape might have been for artists in the exhibition and even captured the vibrant musical era spanning over a decade that many people romantically recall.
H: Can you describe the process you went through to select the songs?
DN: Initially, I reflected on musicians that various artists had noted during our discussions or referenced in their work. I also considered how genres like jazz and rock transformed from 1958 to 1972. Additionally, I imagined what might have been playing on the radio in different cities such as Houston, Chicago, and Mill Valley. The end result is akin to an eclectic mix: a compilation that transcends genres, locations, and time—much like the exhibition itself!
H: Were there any songs that you considered including but ultimately did not for any reason?
DN: The great aspect of a digital playlist is its capacity to include an unlimited number of tracks. It’s a unique medium in that sense, allowing for perpetual additions.
H: Do you foresee playlists becoming a routine part of exhibitions? Could there be interactive elements in the future?
DN: It’s tough to say; it largely depends on the exhibition. Personally, I enjoy experiencing art in silence, but I also appreciate providing an auditory experience for visitors to engage with at home. Thus, it really boils down to the audience’s preferences and the institutions’ goals.
H: Any standout tracks for you on this playlist?
DN: “All the Tired Horses” by Bob Dylan always resonates with me!
Sixties Surreal is exhibiting at the Whitney Museum of American Art from September 24 through January 19, 2026.
As a final note, here are some of my personal playlist recommendations, featuring tracks from 1958 to 1972 that I enjoy: Bert Jansch – Running From Home (1965); The Incredible String Band – The Mad Hatter’s Song (1967); Pink Floyd – Remember a Day (1968); Fairport Convention – She Moves Through the Fair (1969); Nick Drake – River Man (1969); The Velvet Underground – Jesus (1969); Amon Düül II – Sandoz in the Rain (1970); The Stooges – T.V. Eye (1970); Syd Barrett – Octopus (1970); Trees – Glasgerion (1970); Alice Cooper – Be My Lover (1971); Black Sabbath – Into the Void (1971); Marc Jonson – Return to Relief (1972); Roxy Music – Ladytron (1972); T. Rex – The Slider (1972); Redd Kross – 1984 cover of The Rolling Stones’ Citadel.
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