Andy Warhol’s Coke paintings captured the everydayness of the American product – a coke is a coke is a coke. Danh Vo’s solo show at Kunsthaus Bregenz gives us the nasty underlayer to corporate demagoguery. By embossing cardboard shipping boxes with Coke labels made of gold foil, where a small Vietnamese phrase is legible beneath the logo. Iconographic planes—a box from a piece of Samsonite luggage, a colonial-era American flag, a Grimm fairytale in German blackface—are layered and hung in the Kunsthaus’ severe stairwell, turning it into an apocalyptic hall of corporate post-nationalism. But instead of a heavy-handed anthropology of the global, Vo offers a personal, almost Mallarméan gesture of image-creation in the face of the abyss: the artist’s name, when inverted as in the show’s title, means “Without Name.” Such facelessness touches on the fragility of art-making as well as the anonymities of the immigrant experience. Both are, after all, products of transit. Here the Statue of Liberty and a Jim Beam whisky bottle are flattened out, as if one and the same. The narratives are both grandiose and unstable, something between national spectacle and the white lie. (Pablo Larios)