The standard grips this chord is usually shown with.
A6 is A, C#, E and F#, a major sixth. The shape this page opens on is written x02222, lowest string first.

Also written Amaj6, AM6 or A major 6. The same chord either way; which spelling you meet depends on who wrote the chart.
There are 10 common shapes for A6 on the guitar, and 33 derived voicings in 4 families.
In which keys. Every note of A6 belongs to C# minor (the ♭VI), D major (the V), E major (the IV), F# minor (the ♭III), A major (the I) and B minor (the ♭VII).
The common shapes, written lowest string first: x02222, x42222, 544222, 242252, 5x465x, 5x7675, 57x675, xx7979, x-12-11-11-10-x, x-12-14-14-14-14.
Shell. Root, third and seventh: the guide tones fix the quality, so the fifth is dropped. That is what leaves a string free, so pick a tension to put on top. A6 has x046xx, 544xxx, x-12-11-11-x-x, 5x46xx, x-12-x-11-14-x.
Drop 2. A close-position chord with the second voice from the top lowered an octave. Sits on four adjacent strings. A6 has xx2222, 2422xx, xx4655, x7767x, xx7979, 9979xx, x-9-11-9-10-x, x-x-11-11-10-12.
Drop 3. The third voice from the top lowered an octave. The dropped voice becomes the bass, which is why a string is skipped. A6 has x4x252, 2x222x, 5x465x, x7x675, 9x797x, x-9-x-9-10-9, 12-x-11-11-10-x, x-12-x-11-14-12.
Open string. An open string left ringing against a fretted grip. Because it costs no finger, it sounds a note the closed shape has none left for -- a tension on top, or a pedal root underneath. Either a familiar grip with open strings added, or a shape so sparse the open strings carry the chord. These belong to their key rather than to a shape, so D, A, G and E have many and Eb a handful. A6 has 5x4600, 57460x, 24220x, x04600, 00460x, 0x4600.
Tensions. A shell of A6, root, third and seventh, leaves a string free, and the tones that belong over it are the 9 (B) and the #11 (D#).
The common shapes and the derived voicings come from different places, and both are explained in where the chords and the theory come from.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.