From the seminal “TV as a Creative Medium,” at the Howard Wise gallery on 57th Street in New York. If one work in this exhibition epitomized the new medium’s power, and signaled its radical break with the technology of film, it was Frank Gillette and Ira Schneider’s “Wipe Cycle,” a complex “television mural”consisting of nine monitors “designed to engage and integrate the viewer’s television ‘image’ at three separate points in time and five exchanging points in space.” The instrument of this engagement was especially novel: “Synchronized cycle patterns consisting of live and delayed feedback, broadcast television, and taped programming are developed through four programmed pulse-signals every two, four, eight and sixteen seconds. Separately, each of the cycles acts as a layer of video information, while the four levels of information in concert determine the overall composition of the work at any given moment.”