The fifth Sonsbeek differs from previous triennial Sonsbeek editions in a number of ways. First of all, the work committee responsible for selecting the artworks consists both of people from art institutions and sculptors. In the run up to the exhibition, they face new challenges. When selecting the works, they have to take into account other mayor exhibitions, such as the Venice Biennale of 1964 and 1966. A greater challenge is the ambition to show a more convincing overview of developments in contemporary sculpture. As many different new movements appear in the 1960s, this proves to be quite a task.

What unites the participating artists is their aim to remove art from "its transcendental isolation", according to professor Jaffé, in the catalogue introduction. The border between viewer and artwork is blurred, both literally as the exhibited artworks are no longer on pedestals, and figuratively. As a results, artists experience more freedom to experiment with new techniques and materials. Sonsbeek '66 shows a large diversity of sculptures, with regard to materials, techniques, and styles.