When a young dealer opens a gallery downtown you’d expect her to show artists from among her peers, but Bridget Donahue makes a big statement with her first show-a mini-retrospective of Lynn Hershman Leeson. In recent years, the New York and San Francisco-based artist has drawn increasing attention for her decades of perennially fresh encounters between technologies and bodies. Her last New York show was in 2008 at bitforms, which specializes in new media. Yet Donahue’s current presentation is grandly quiet in its focus on the old. It includes a scratched painting from the ’60s, along with photographs and performance documents reflecting the artist’s interest in the female body as an object of surveillance and voyeurism. New wallpaper bearing images of genetically modified organisms suggests the internalization of tech, while a projection that one must peer inside a black-box installation to see bends the viewer’s body to the artist’s will.