THE TITLE OF AN EXHIBITION curated by Bice Curiger precedes it like a magical incantation, the better to drift and resonate in one's brain among the exhibition's wealth of works: “Endstation Sehnsucht” (A streetcar named desire), 1994; “Signs and Wonders,” 1995; “Birth of the Cool” 1997. Now the mental tuning is raised to a new level in “Hypermental: Rampant Reality 1950–2000. From Salvador Dali to Jeff Koons.” Where Surrealism was concerned with the paranoid-critical overturning of modern reality, its postmodern continuation, Curiger shows, exalts a world that has dispersed into a hybrid