Marv Newland’s early counterculture animation Bambi Meets Godzilla stages a brief, irreverent encounter between the two characters, whereas Standish Lawder’s Runaway subjects a short cartoon loop to a series of hypnotic mediations and interventions.

From morphing bodies engaged in rapturous copulation (Desire Pie) to disembodied parts (The Club, Seed Reel), artists respond to the waning sexual revolution and the women’s movement, expressing agency and stimulation while at the same time depicting complex forms of desire.

Artists discovering animation in the mid-1960s and early 1970s did so in a culture of pop art, psychedelia and Marshall McLuhan’s media theory. They responded by creating overwhelming works of graphic collage, violent flickering colours and sensory overload. Exploded View begins with a look at several foundational works from animators whose explorations of radical form and content stood out in the 1960s, from established figures like Stan Vanderbeek and Disney animator Ward Kimball to lesser-known, underground artists such as Fred Mogubgub and Irene Duga.