By no means a mere retrospective, “Juan Downey: Una Utopia de la Comunicación” (Juan Downey: A Communications Utopia) was structured around a specific agenda: cybernetics. This well-researched and elegantly installed exhibition portrayed the Chilean-born, longtime New York–based artist as a video-art pioneer, conceptual architect, and gonzo anthropologist. Claiming cybernetics to be the theoretical hobbyhorse behind much of Downey’s production, curator Julieta González used it to trace a path through the various periods of the artist’s heterogeneous practice over the course of almost three