This example of hypernegation (it that's what it is) was sent to me by Karl Zimmer:
From a review by Hilton Als of the play "The Madrid" in The New Yorker (3/11/2013; p. 76):
In a recent interview, Falco pointed out how infrequently she's offered "first dibs" on new plays. She explained, "I get offered them, but only after other people turn them down." Given that Falco is, artistically speaking, the heir to the late Maureen Stapleton–another toweringly talented actress who insisted on bare truth, not truthiness, in her performances– it's no small wonder that producers consider her a commercial risk…
This looks more to me like a blend of no wonder and small wonder than it does of negation-gone-wild. But of course that's just a guess.