Sprawling through Ridgefield, Connecticut’s Aldrich Museum of Contemporary Art, “Pop Surrealism” proves one point above all else: at the end of the century in the visual arts, invention is a form of debt. The mutant sensibility at work in this droll, smartly curated exhibition proposes the marriage of Surrealism’s dream-laden fetish for the body eroticized and grotesque and Pop art’s celebration of the shallower, corrosively bright world given over to the packaged good.

The smartness of “Pop Surrealism” is in its adept nose for sniffing out a sensibility that has taken root so widely that probably