Now that curators have pulled and stretched the contemporary art exhibition to its full elastic potential, now that the contemporary art institution is conceived as the pluralistic host for any sort of artistic practice whatsoever, now that exhibitions can take place anywhere at any time and simultaneously offer the widest variety of experiences aesthetic and otherwise, it’s easy to lose sight of the mediating frame an exhibition can offer in its reciprocal relationship with an audience. It seems like more and more exhibition makers presume visitors are simply brimming with unfettered curiosity and are flexible enough to contort into whatever states of sensory receptivity their projects require. As the art exhibition inclusively widens its purview, it risks losing its specificity altogether. Given this, it’s both a perfect time to schedule an Alejandro Jodorowsky exhibition and to ask why the Chilean director, actor, spiritual guide, and author would need an exhibition at all? In arty circles he’s surely best known for his radically inventive films, El Topo (1970), The Holy Mountain (1973), and Dune (1975) while some claim he’s the man for whom the term “cult movie” was coined. Representationally speaking, what can an exhibition add to his lifetime of multi-form …