Charles Amirkhanian’s 1994 piece "Mental Radio" is made up of several movements, primarily of sound collage and sound poetry, prominently featuring Amirkhanian’s rhythmic and mesmerizing text-sound composition style alongside sampled field recordings. The effect showcases Amirkhanian’s experience as a radio producer, sounding very much like a great set on a radio show. The piece includes recordings of lectures by musicologist Nicolas Slonimsky in honor of his centenary. Slonimsky references Amirkhanian’s own work and comments on the evolving relationship of audiences and critics with avant-garde compositions, turning the piece into a commentary on itself before the radio show has moved on, continuing to play with sound, text and rhythm. Equal parts playful and thought-provoking, the piece leaves the listener surprised that phrases can become earworms as much as melodies, and pondering how the piece itself has and will age over time.
- 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.