But Hershman Leeson’s avant-garde technologism is cut with camp, horror, and feminized abjection, undergirding an eerie feeling that interactivity is as much about capture and control as it is about activation and agency. Between the Snowden leaks and a Twitter presidency, the narrative around technology has acquired a dystopian charge, and Hershman Leeson’s work is increasingly recognized for its Cassandra-like premonitions of technological panopticism. Such anxieties explicitly structure her new installation, Venus of the Anthropocene, 2017. A grotesque mannequin torso faces a vanity mirror rigged with a camera and crude facial-recognition software that attempts—with modest success—to identify the viewer’s age, gender, and mood…