Exploring ideas about the musicality and physical qualities of sound itself, listening as an act of composition, place, distance, and history, sound artist Bill Fontana’s sound sculptures have been broadcast and installed in cities throughout the world over the last 50 years. In 1987, Fontana created what he calls a sound bridge between the far-flung cities of San Francisco and Köln (Cologne), connecting, mixing, and then broadcasting their soundscapes. 18 microphones were placed in locations throughout each city, and the sounds they picked up were then brought together via satellite. From a radio studio at Westdeutscher Rundfunk Köln (WDR, West German Radio, Cologne), Fontana live mixed a collage of the sounds, including sea lions and the fog horns of the Golden Gate from the San Francisco Bay and the cathedral bells and river boats in Cologne. The hour-long mix was broadcast live from over 50 radio stations internationally, including American Public Radio in the US, who partnered with WDR in the production, as well as museums in Cologne and San Francisco.
- Introduced by Wave Farm Radio Artist Fellow 2020/2021, Jess Speer.

The Wave Farm Broadcast Radio Art Archive is an online resource and broadcast series on Wave Farm’s WGXC 90.7-FM, which is syndicated to stations across the country through The Radio Art Hour. It aims to identify, coalesce, and celebrate historical and contemporary international radio artworks created specifically for terrestrial AM/FM/Shortwave broadcast, whether it be via commercial, public, community, or pirate transmission. The archive is a product of Wave Farm's Radio Artist Fellowship.

Radio artists explore broadcast radio space through a richly polyphonous mix of practices, including poetic resuscitations of conventional radio drama, documentary, interview and news formats; found and field sound compositions reframed by broadcast; performative inhabitations/embodiments of radio’s inherent qualities, such as entropy, anonymity and interference; playful celebrations/subversions of the complex relationship between senders and receivers, and the potential feedback loops between hosts and layers of audience, from in-studio to listeners at home to callers-in; use of radio space to bridge widely dispersed voices (be they living or dead), subjects, environments and communities, or to migrate through them in ways that would not be possible in real time and space; electroacoustic compositions with sounds primarily derived from gathering, generating and remixing radiophonic sources. Note: Wave Farm continues to expand this definition of radio art through engagement with contemporary practices including those revealed by Wave Farm Artists-in-residence, and the Radio Art Fellowship program.