Donna Haraway’s “A Manifesto for Cyborgs,” published in 1985 as a response to The Socialist Review’s call for reflections on the future of socialist feminism, has become, in the forty years since, as close to holy writ as any piece of feminist theory. The essay, commonly known as “A Cyborg Manifesto,” was composed during the dregs of Ronald Reagan’s first term, when Christian fundamentalism was on the rise and the American military was investing prolifically in wasteful technological expenditures, such as the Star Wars program. At the time, American feminists tended to see science and technology as tools of patriarchal oppression. Haraway brought a new feminist icon: the cyborg, part human, part machine, described as the “illegitimate offspring” of patriarchal technocapitalism: genderless, fragmented, parent-free, socially constructed, and enmeshed in networks of others. She argued old binaries were no longer relevant, urging embrace of a “confusion of boundaries” and “joint kinship with animals and machines.” The essay drew on chimeras to represent double vision crucial to resistance, and leveraged science fiction to imagine a utopian future of biohacking and self-determination. Allusions to the manifesto have become pervasive in contemporary art, and ArtReview named Haraway the third most influential person in the art world.